Exaudi Deus - Score

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Orlande de Lassus - Exaudi, Deus, orationem meam

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Exaudi Deus (Croce, Giovanni) - IMSLP: Free Sheet Music PDF Download

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  • MUSIC FOR SEPTETS?

Are you a beginner who started playing last month? Do you usually like this style of music? Feel free to recommend similar pieces if you liked this piece, or alternatives if you didn't. Be respectful of artists, readers, and your fellow reviewers. Please do not use inappropriate language, including profanity, vulgarity, or obscenity.

Avoid disclosing contact information email addresses, phone numbers, etc. We cannot post your review if it violates these guidelines. If you have any suggestions or comments on the guidelines, please email us. All submitted reviews become the licensed property of Sheet Music Plus and are subject to all laws pertaining thereto. Four choirs Office of the Dead - Respond. A remarkable piece of late Renaissance polychoral writing, with extraordinary use of the madrigalian 'sospiri' figure.

Denis Arnold wrote of its 'polyphonic web full of rich dissonance and ending with a grand plagal cadence. A contrafactum of Gabrieli's madrigal O che felice giorno. It appears that the composer retexted the piece himself, and it has become well-known in its own right. One of the best-known of Gabrieli's large-scale pieces. It was probably composed for one of the annual 'Redentore' celebrations in Venice; its text derives in part from the liturgy for Holy Trinity. A chorus score is also available.

This version has a realised organ part based on one published on the Internet, whose arranger I have been unable to contact. The alternative version presents the original unfigured organ part.

Instrumental parts, including an organ part with a blank right hand, are available on request. This version presents the original unfigured organ part. The alternative version has a realised organ part based on one published on the Internet, whose arranger I have been unable to contact.

MUSIC FOR SEPTETS

This reduced score includes all vocal parts and organ, with an outline of the instrumental group. The print specifies only two voices, Mezzosoprano high countertenor and Tenor, with the following instruments: 2 cornetti and bassoon, 5 trombones, and organ. All except the highest cornetto part even the lowest Bass which descends to low C are marked 'e Voce si placet', so the piece may be performed with as many singers are available.

It opens with an optional instrumental Sinfonia for all 10 instruments. Alternative version s : EMP Set of parts. Alternative version s : EMP Full score. One of the least well-known of Gabrieli's large-scale pieces. It would have been most appropriate for a Marian Feast but can of course be sung at any time. The third choir is the Capella, in which all parts are sung but can be doubled, for example by strings. Choir I is probably for a solo Tenor and four high instruments, Choir II for solo Soprano and four trombones or similar. Instrumental parts are available on request.

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The least ambitious of the surviving Magnificat settings, this is nonetheless a fine piece, from the collection. The same collection includes a setting for twelve voices: the collection includes another voice setting as well as one for 14 and one for 17 voices, while incomplete manuscript sources document one setting for 20 or 28 voices, and another for 33 voices. The celebrated piece with a range of 4 octaves. Although the scoring is not specified in the print, the piece clearly requires: in the high choir Solo Alto and four high instruments most likeley cornetti, possibly with a tenor cornett or viola ; in the lower choir called Primus Chorus because it sounds first a Solo Tenor and four low instruments, probably trombones with perhaps a curtal as Bass.

There is an organ part in the Augsburg manuscript which is incorporated in the edition. A revised edition of a marvellous piece from Gabrieli's collection, with original note-values restored. The 6-voice pieces in the collection represent a starting point for Gabrieli's exploration of a new style: here he pays tribute to Josquin, but makes it clear that he is moving on.

Carus Verlag

The earlier setting the better-known setting is in the collection. Denis Arnold considered this one of the finest motets in the Sacrae Symphoniae, and it represents, rarely in a double-choir piece, the extremely affective side of Gabrieli's great genius. Its low second choir was probably performed with a solo falsettist and three sackbuts, but the piece is enirely in vocal clefs and a capella performance cannot be ruled out. Revised edition replacing our earlier one, and printing the alto voice in treble clef.

This version includes an editorial organ continuo single line.