"Dominica in Ramis Palmarum" for Winds & Strings
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"Dominica in Ramis Palmarum" for Winds & Strings

8 parts13 pages09:495 hours ago12 views
Flute, Oboe, English Horn, Bassoon, Violin(2), Viola, Cello
Tomás Luis de Victoria (1548 – 1611) was the most famous composer in 16th-century Spain, and was one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrina and Orlando di Lasso. Victoria was not only a composer, but also an accomplished organist and singer as well as a Catholic priest. However, he preferred the life of a composer to that of a performer.

Victoria was born in Sanchidrián in the province of Ávila, Castile around 1548 and died in 1611. Victoria's family can be traced back for generations. Not only are the names of the members in his immediate family known, but even the occupation of his grandfather. Victoria was the seventh of nine children born to Francisco Luis de Victoria and Francisca Suárez de la Concha. His mother was of converso descent. After his father's death in 1557, his uncle, Juan Luis, became his guardian. He was a choirboy in Ávila Cathedral. Cathedral records state that his uncle, Juan Luis, presented Victoria's Liber Primus to the Church while reminding them that Victoria had been brought up in the Ávila Cathedral. Because he was such an accomplished organist, many believe that he began studying the keyboard at an early age from a teacher in Ávila. Victoria most likely began studying "the classics" at St. Giles's, a boys' school in Ávila. This school was praised by St.Teresa of Avila and other highly regarded people of music.

He was a master at overlapping and dividing choirs with multiple parts with a gradual decreasing of rhythmic distance throughout. Not only does Victoria incorporate intricate parts for the voices, but the organ is almost treated like a soloist in many of his choral pieces. Victoria did not begin the development of psalm settings or antiphons for two choirs, but he continued and increased the popularity of such repertoire. Victoria reissued works that had been published previously, and included new revisions in each new issue.

Victoria published his first book of motets in 1572. In 1585 he wrote his Officium Hebdomadae Sanctae, a collection which included 37 pieces that are part of the Holy Week celebrations in the Catholic liturgy, including the eighteen motets of the Tenebrae Responsories.

Stylistically, his music shuns the elaborate counterpoint of many of his contemporaries, preferring simple line and homophonic textures, yet seeking rhythmic variety and sometimes including intense and surprising contrasts. His melodic writing and use of dissonance is more free than that of Palestrina; occasionally he uses intervals which are prohibited in the strict application of 16th century counterpoint, such as ascending major sixths, or even occasional diminished fourths (for example, a melodic diminished fourth occurs in a passage representing grief in his motet Sancta Maria, succurre). Victoria sometimes uses dramatic word-painting, of a kind usually found only in madrigals. Some of his sacred music uses instruments (a practice which is not uncommon in Spanish sacred music of the 16th century), and he also wrote polychoral works for more than one spatially separated group of singers, in the style of the composers of the Venetian school who were working at St. Mark's in Venice.

Source: Wikipedia (https://en.wikipedia.org/wiki/Tom%C3%A1s_Luis_de_Victoria ).

Although originally created for four (4) voices (SATB), I created this Interpretation of the "Dominica in Ramis Palmarum" (Palm Sunday) from "Officium Hebdomadae Sanctae" for Winds (Flute, Oboe, English Horn & Bassoon) & Strings (2 Violins, Viola & Cello).

"Serenade" from the Suite "España" (Op. 165 No. 4) for Flute Quartet

4 parts6 pages03:119 hours ago21 views
Born in 1860, Isaac Albéniz is best known for piano music that brilliantly evokes the spirit of Spain. As a composer-virtuoso, Albéniz successfully melded together composition and performance to create a bravura style reminiscent of the music of Liszt, seasoned with Spanish folk idioms. The work that most convincingly represents this synthesis of virtuosity and tradition is the enchantingly colorful and atmospheric Iberia, a suite of 12 pieces recalling Spanish (particularly Andalusian) places and dances. Albéniz used folklore as his inspiration, but created a singular melodic style, which eventually influenced Debussy and Ravel. Believing that artistic originality and an interest in one's national musical tradition do not exclude each other, Albéniz likewise was largely the creator of the Spanish musical idiom that would be adopted and developed by Granados and de Falla.

Albéniz's popular set of six album leaves, España, is the acme of his salon piano compositions. None of the pieces is longer than approximately four minutes, and none has the technical challenges and intricate textures of his masterpiece Iberia. The rhythms, modal harmonies, and subtle dramatics of its simple lines so completely evoke Spain that anything more would be gilding the lily. Together, the six pieces could be viewed as Albéniz's take on the traditional keyboard suite, made up as it is of a prelude followed by dances with a couple of non-dance movements thrown in. The prelude is really an introduction in the sense that its opening phrases sound like a ceremonial fanfare announcement. In between these are phrases where the changing harmonies of triplets split between the hands foreshadow what's to come in the Malagueña later. The second album leaf is the famous Tango in D, Albéniz's most recognized melody, frequently transcribed for other instruments. The Malagueña places the fandango rhythm in the right hand and the melody in the left hand. The fourth piece, Serenata, alternates playful staccato phrases with more legato, song-like melodies while frequently changing harmonies color its expressions. Fifth is the Capricho Catalan, a delicate song played almost entirely in parallel thirds over a constant offbeat accompaniment. The last piece is a Basque dance in 5/8 meter, the Zortzico. It has a distinctive, dotted-rhythm device that covers the second and third beats of each measure, and often the fourth and fifth also, normally beat out on a drum.

Source: AllMusic (https://www.allmusic.com/composition/espa%C3%B1a-album-leaves-6-for-piano-op-165-b-37-mc0002388524 )

Although originally written for Piano, I created this interpretation of the "Serenade" from the Suite "España" (Op. 165 No. 4) for Flute Quartet (3 Flutes & Alto Flute).

A World of Ash (Eng. Horn/Strings/Perc.)

10 parts5 pages03:0614 hours ago9 views
English Horn, Violin(2), Viola, Cello, Contrabass, Percussion(3), Synthesizer
This a piece I write depicting the ashen world of the Final Empire, the setting of Brandon Sanderson's Mistborn Trilogy. I am currently reading these books (for the third time!) and they are incredible in every sense of the word. I felt this piece showed the oppression in the Final Empire, especially in the first book. (I thought it could also serve as part of a soundtrack or something like that.)

The Battle Of Yavin

19 parts31 pages08:2524 days ago45 views
Piccolo, Oboe, Flute(2), Clarinet(3), Trumpet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bassoon, French Horn, Trombone, Tuba(2), Percussion(2), Timpani
"Use the force Luke.... Let go Luke!"

I couln't find this anywhere else so I decided to remake it myself.
While all rights go out to John Williams I would like to request that you do not reupload this piece with out contacting me first. (That or at least give me credit for this please.)

This is not aiming for 100% ... that would be very hard, I just wanted to add all of the general parts that most Star Wars fans would know.

So I now present to you: Star Wars: Episode IV "A New Hope. "The Battle Ff Yavin", by John Williams.

ConcertoforCelloandOrchestra No . 4 "Ain't Nothing Like Da REal Thing Baby " sketchWIP

45 parts5 pages03:1018 hours ago21 views
Cello, Piccolo, Flute(2), Oboe, English Horn, Clarinet(2), Bassoon(2), Alto Saxophone, Baritone Saxophone, French Horn(2), Trumpet(2), Trombone(2), Timpani, Percussion(11), Piano, Harpsichord, Harp(2), Guitar, Bass, Violin(2), Strings(6), Contrabass
Just a sketch for ideas and musical effects and interjections in a non-linar but seemingly narrative straight forward structure like my 3rd cello concerto it wont be . "Ain't Nothing But Da Real Thing Baby " Concerto for Solo Cello and Orchestra no. 4 by Mr. MartimJao . Yo why u talkin' in da 3rd person . It suits me & Y not ?

" Orifice " Music for Piano ,Harpsichord & Orchestra commemorating the Anniversary of the Sowetan Uprising in 1976 . op. 372?

35 parts10 pages10:0912 days ago90 views
Piccolo, Flute, Oboe, Clarinet(2), Bassoon(2), Soprano Saxophone, Baritone Saxophone, French Horn, Trumpet, Timpani, Percussion(9), Other Woodwinds, Harp, Guitar, Bass, Piano, Harpsichord, Strings(5), Viola, Cello, Contrabass
" Orifice " Music for Piano ,Harpsichord & Orchestra commemorating the Anniversary of the Sowetan Uprising in 1979 . Ive written a bunch of solo piano and violin solo and intend to finish an unfinished marimba work in the coming weeks/months . Az always ize keep beesee ! This is turning into one of my finest moments in composition all the elements coming together as I would want them in a dream !
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7 parts33 pages03:07a day ago47 views
Trumpet, Piano(3), Guitar, Bass, Percussion
Hello from Belgium ! When I was 13, the first orchestra with I play was a jazz orchestra. Everybody can be my great father in this orchestra ! It was for me a great pleasure to play with them. This score is for them. thanks all ! I hoppe that you enjoy with this score.
next ? ciao. Be happy !
"Missa sine nomine" for Winds & Strings
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"Missa sine nomine" for Winds & Strings

8 parts18 pages14:35a day ago27 views
Flute, Oboe, English Horn, Bassoon, Violin(2), Viola, Cello
Lodovico Grossi da Viadana (usually Lodovico Viadana, though his family name was Grossi; c. 1560 – 1627) was an Italian composer, teacher, and Franciscan friar of the Order of Friars Minor Observants. He was the first significant figure to make use of the newly developed technique of figured bass, one of the musical devices which was to define the end of the Renaissance and beginning of the Baroque eras in music.

He was born in Viadana, a town in the province of Mantua (Italy). According to a document dating from about 150 years after his death, he was a member of the Grossi family but took the name of his birth city, Viadana, when he entered the order of the Minor Observants prior to 1588 (Mompellio 2001). Though there is no contemporary evidence, it has been claimed that he studied with Costanzo Porta (Mompellio 2001), becoming choirmaster at the cathedral in Mantua by 1594. In 1597 he went to Rome, and in 1602 he became choirmaster at the cathedral of San Luca in Mantua. He held a succession of posts at various cathedrals in Italy, including Concordia (near Venice), and Fano, on the east coast of Italy, where he was maestro di cappella from 1610 to 1612 (Mompellio 2001). For three years, from 1614 to 1617, he held a position in his religious order which covered the entire province of Bologna (including Ferrara, Mantua and Piacenza). By 1623 he had moved to Busseto, and later he worked at the convent of Santa Andrea, in Gualtieri, near Parma. He died in Gualtieri (Mompellio 2001).

Viadana is important in the development of the early Baroque technique of basso continuo, and its notational method, known as figured bass. While he did not invent the method—figured basses occur in published sources from at least as early as 1597. He was the first to use it in a widely distributed collection of sacred music (Cento concerti con il basso continuo), which he published in Venice in 1602. Agostino Agazzari in 1607 published a treatise describing how to interpret the new figured bass, though it is clear that many performers had by this time already learned the new method, at least in the most progressive musical centers in Italy.

A Missa sine nomine, literally a "Mass without a name", is a musical setting of the Ordinary of the Mass, usually from the Renaissance, which uses no pre-existing musical source material, as was normally the case in mass composition. Not all masses based on freely composed material were so named, but many were, particularly from the late 15th century through the 16th century. One of the earliest examples of a Missa sine nomine is by Guillaume Dufay, whose Missa Resvelliés vous (formerly known as a Missa sine nomine) dates from before 1430, and possibly as early as 1420. It may have been written for the wedding of Carlo Malatesta and Vittoria di Lorenzo in Rimini. Many other composers wrote Missae sine nomine, including Walter Frye, Barbingant, Alexander Agricola, Johannes Tinctoris, Matthaeus Pipelare, Heinrich Isaac, Pierre de La Rue, Josquin des Prez, Jean Mouton, Vincenzo Ruffo, and Lodovico Viadana.

Source: Wikipedia (https://en.wikipedia.org/wiki/Lodovico_Grossi_da_Viadana ).

Although originally created for four (4) voices, I created this Interpretation of the "Missa sine nomine" (Nameless Mass) for Winds (Flute, Oboe, English Horn & Bassoon) & Strings (2 Violins, Viola & Cello).
La DolceVita
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La DolceVita

16 parts47 pages02:543 days ago80 views
Piano(10), Baritone Saxophone, Trumpet(3), Bass, Percussion
A beautyful song from "the Jive Aces" of England. I love this song and than I have made an arrangment with this song. Say me if you enjoy with it.

Mazurka in D Major (Op. 33 No. 2) for Oboe & Strings

5 parts4 pages02:103 days ago28 views
Oboe, Violin(2), Viola, Cello
Frédéric François Chopin (1810 – 1849) was a Polish composer and virtuoso pianist of the Romantic era who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose "poetic genius was based on a professional technique that was without equal in his generation."

The nineteenth century saw the emergence of several new forms and genres, in some part as a departure from the great sonata form enlarged and expanded by Beethoven. As a result, many composers, especially for the piano, were turning towards more intimate character pieces. These miniatures allowed for the brief exploration of an idea, whether technical or emotional. Among the new genres appearing at the time was Chopin's Mazurka, a fusion of three Polish dance forms with the classical traditions of the composer's homeland. The three dance forms, the Mazur, the Kujawiak, and the Oberek, are sometimes found in their pure form, but often are merged with each other or with other genres or styles. The Mazurka enabled Chopin to explore many different dynamic, harmonic, and melodic colors, and to create many different personalities and characteristics. The result is a genre that can't be described universally, each piece being unique.

The Mazurkas of Opus 33 each present distinct traits and characteristics. The first, marked Lento, has a lyrical, expressive melody line over a waltz pattern in the bass. The mood shifts effortlessly between mournful and hopeful, with a cherished and delicate intimacy. The second Mazurka is a true Oberek, impetuous, fast, and with strong, irregular accents. The mood is joyous, with playful, comic tremolo figures. The coda is free and full of flurries. The third piece of the collection, marked Semplice, is truly a simple and innocent approach to the genre. The sweet, tender melodic line is supported by subtly accented second beats, keeping the flavor of the dance. The final Mazurka adds rhythmic interest to the set, with the grace notes and trills bringing a rustic, native feel. The piece is written in rondo form, with several different characters appearing in the episodes between the recurring original theme.

Source: AllMusic (https://www.allmusic.com/composition/mazurkas-4-for-piano-op-33-ct-72-75-mc0002494824 ).

Although originally composed for solo piano, I created this interpretation of the Mazurka in D Major (Op. 33 No. 2) for Oboe & Strings (2 Violins, Viola & Cello).
"In Monte Oliveti" for Woodwind Quintet
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"In Monte Oliveti" for Woodwind Quintet

5 parts2 pages02:314 days ago34 views
Flute, Oboe, Clarinet, French Horn, Bassoon
Mikolaj Zielenski (1550 - 1615) was a Polish composer. Zieleński's only known surviving works are two 1611 liturgical cycles of polychoral works, the Offertoria/Communes totius anni. These were dedicated to the Archbishop of Gniezno, Wojciech Baranowski. The sets consist of large-scale double- and triple-choir antiphons, as well as some monodic works typical of the Seconda pratica style of early Monteverdi. Zieleński's music is the first known Polish music set in the style of the Baroque.

Little is known today about the life and work of Mikołaj Zieleński who lived at the turn of the 17th century, indeed too little considering the volume of his work and its historical significance. The fragmentary information we have about him today allows us to reconstruct solely a very fragmentary biographical sketch about this composer. The circumstances in which his exceptional talent was born are a matter of many hypotheses and conjectures. The music created thanks to his exceptional gift allowed Zieleński to take a place in the history of music by which he is even regarded as the best Polish composer before Chopin. Szymon Skorowolski, a historian contemporary to Zieleński, classified him as a member of a group of Polish composers who had been educated in Rome, "in media Roma exercitati". This is a reference of great significance as it locates the main source of his musical knowledge as a professional composer.

Although the time of his musical education is determined by this remark it makes it possible to come up with a hypothesis as to the range of the Italian music masters under whom he may have studied or whose music became familiar to him and indicates his possible connections within Italian musical circles. It is quite certain that Zieleński studied the work of Palestrina whose compositions were recognized by the Council of Trent as the stylistic paragon and pattern of church polyphony. He also became familiar with the compositions of the Gabrielis (Andrea and his nephew Giovanni), the two most eminent representatives of the Venetian polychoral school. Likewise it cannot be excluded that the Polish composer acquainted himself with the ideas of Florentine camerata contained in Dialogo della musica antica et della moderna of V. Galilea (1581). Even the first attempts at accompanied monody made by Caccini and Galilea in their Le nuove musiche (1601) may have been familiar to him.

All the above-made suppositions and conclusions seem to find corroboration in the two volumes of works by Mikołaj Zieleński, Offertoria and Communiones (published in Venice in 1611) at the press of Jacob Vincentius. Both the frontispiece and the short preface published in these books state that Zieleński was a composer, organist and Kapelmeister at the court of the Polish primate Wojciech Baranowski. The status of the patron as well as the seat of his court, ?owicz, the capital of the Archbishops and Primates of Poland, and a well-known centre of musical life back in these days, were fitting with the composer's rank as a musician.

Unfortunately, these are the only known facts concerning the life and work of Mikołaj Zieleński. We know much more about his mastery as a composer from his works that were published.

Offertoria totius anni which make up the first volume, contain 56 seven- and eight-voiced compositions enriched with the accompaniment of instruments. Next to the Offertoria known surely after Gabrielli's Sacrae Simphoniae we find here a twelve voice Magnificat. The pieces in this collection are rendered in the concerto style of the polychoral Venetian school. Let us emphasize that the eight-voiced texture became the most typical form of this type of composition in the beginning of the 17th century. By taking up this trend, Zieleński became one of the precursors of the innovational approach to composing offertories.

Source: IMSLP(https://imslp.org/wiki/In_monte_oliveti_(Martini%2C_Giovanni_Battista) ).

Although originally created for three unaccompanied mixed choirs (SATB), I created this Interpretation of "In Monte Oliveti" for Woodwind Quintet (Flute, Oboe, Bb Clarinet, French Horn & Bassoon).
"Album Leaf" from Lyric Pieces (Book 4 Op. 47 No. 2) for Clarinet & Strings
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"Album Leaf" from Lyric Pieces (Book 4 Op. 47 No. 2) for Clarinet & Strings

5 parts4 pages03:075 days ago31 views
Clarinet, Violin(2), Viola, Cello
Edvard Hagerup Grieg (1843 – 1907) was a Norwegian composer and pianist. He is widely considered one of the leading Romantic era composers, and his music is part of the standard classical repertoire worldwide. His use and development of Norwegian folk music in his own compositions brought the music of Norway to international consciousness, as well as helping to develop a national identity, much as Jean Sibelius and Bedrich Smetana did in Finland and Bohemia, respectively. He is the most celebrated person from the city of Bergen, with numerous statues depicting his image, and many cultural entities named after him: the city's largest concert building (Grieg Hall), its most advanced music school (Grieg Academy) and its professional choir (Edvard Grieg Kor). The Edvard Grieg Museum at Grieg's former home, Troldhaugen, is dedicated to his legacy.

The seven works that constitute Edvard Grieg's Fourth Book of Lyric Pieces, published as Op. 47 in 1888, were composed from 1885-88. By mid-1885, Grieg had reconciled with his wife Nina, and together they built a home outside Bergen at Troldhaugen ("Valley of the Trolls"). This would serve as home to the Griegs for the rest of their days. Once completed, the considerable expense of building this elaborate house would drive Grieg back to his worktable. In these years he shaped the First Peer Gynt Suite from his incidental music of 1874-5, revised his cantata Oleg Trygvason, and completed his Third Violin Sonata for the violinist Adolf Brodsky.

It was at Brodsky's in Leipzig on New Year's Day, 1888 that Grieg enjoyed lunch in the company of fellow composers Johannes Brahms and Peter Tchaikovsky. Also in Leipzig, Grieg met the young English composer Frederick Delius; the two became fast friends, and Delius rejoined Grieg at Troldhaugen for the summer of that year. In May, Grieg traveled to London where he performed his A minor Piano Concerto for the last time. Joyous news arrived in the form of a letter from Grieg's publisher Max Abraham with C.F. Peters; Abraham agreed to assume the remaining debt on Troldhaugen and pay it off, relieving Grieg of the responsibility of having to raise the funds to do so.

It was in this stimulating atmosphere of settling-in, reinvigorating his romance with Nina, cleaning up old business, and acquainting himself with his peers that Grieg composed the Fourth Book of Lyric Pieces.

He saved many of his freshest ideas for this set; immediately established through the bitter melodic tinge of the opening "Valse-Impromptu," almost bi-tonal in its constant tension between the E major melody in the right hand against the E minor tonality in which the piece is rooted. "Albumblad" (Album-leaf) has an ecstatic quality that is reminiscent of somewhat later works of Scriabin. "Melodie" is stated over a grave, minimal, and insistent quarter- and eighth-note figure (in 6/8 time) which is sometimes voiced only in bare fifths for long stretches of bars. In "Halling," a setting of a traditional duple-time Norwegian dance, the bare fifths in the accompaniment return decorated by dissonant passing tones. The melody is likewise peppered with dissonant grace notes and adjacent pitches; at one point Grieg achieves a minor ninth in the melody. "Melancoli," marked Largo, is somber, as indicated by the title, and largely serves to provide thematic contrast between the "Halling" and "Springdans" (Spring or Leaping Dance) which follows. The "Springdans," a triple time Norwegian dance, is similar in approach to the "Halling"; Grieg adds huge leaps in the left hand to the treble register and some tricky triplet figures in the right. The concluding "Elegie" centers around a drooping chromatic melody that is harmonized by thirds in the manner of Massenet's Elegie. Perhaps an ending more respectable than ideal in this context, this piece is nevertheless haunting in its own distinctive way.

Source: AllMusic (https://www.allmusic.com/composition/lyric-pieces-7-for-piano-book-4-op-47-mc0002361065 ).

Although originally composed for Piano, I created this Interpretation of the "Album Leaf" from Lyric Pieces (Book 4 Op. 47 No. 2) for Bb Clarinet & Strings (2 Violins, Viola & Cello).

Runaway (Demo No. 2)

10 parts12 pages01:485 days ago96 views
Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Violin, Cello(2), Voice, Piano, Percussion

Dmitri Shostakovic Valzer n 2 for concert band(DMITRI SHOSTAKOVICH waltz n 2)

20 parts16 pages03:406 days ago74 views
Piccolo, Flute(2), Bassoon, Clarinet(2), Soprano Saxophone, Alto Saxophone(2), Tenor Saxophone, Baritone Saxophone, Trumpet, French Horn, Brass Ensemble, Trombone, Tuba, Percussion(3), Timpani
Sono sempre rimasto affascinato da questo meraviglioso valzer, ed ho voluto creare un arrangiamento per Banda Musicale, spero sia gradito, ogni commento è benvenuto.

I have always been fascinated by this wonderful waltz, and I wanted to create an arrangement for Band Music, I hope it is welcome, every comment is welcome.
Magnificat à 12 for Winds & Strings
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Magnificat à 12 for Winds & Strings

12 parts17 pages05:536 days ago43 views
Trumpet(2), French Horn, Tuba, Flute, Oboe, Clarinet, Bassoon, Violin(2), Viola, Cello
Mikolaj Zielenski (1550 - 1615) was a Polish composer. Zieleński's only known surviving works are two 1611 liturgical cycles of polychoral works, the Offertoria/Communes totius anni. These were dedicated to the Archbishop of Gniezno, Wojciech Baranowski. The sets consist of large-scale double- and triple-choir antiphons, as well as some monodic works typical of the Seconda pratica style of early Monteverdi. Zieleński's music is the first known Polish music set in the style of the Baroque..

The Magnificat ("My soul magnifies the Lord") is a canticle, also known as the Song of Mary, the Canticle of Mary and, in the Byzantine tradition, the Ode of the Theotokos. It is traditionally incorporated into the liturgical services of the Catholic Church (at vespers) and of the Eastern Orthodox churches (at the morning services). It is one of the eight most ancient Christian hymns and perhaps the earliest Marian hymn. Its name comes from the incipit of the Latin version of the canticle's text.

The text of the canticle is taken directly from the Gospel of Luke (1:46–55) where it is spoken by Mary upon the occasion of her Visitation to her cousin Elizabeth. In the narrative, after Mary greets Elizabeth, who is pregnant with John the Baptist, the latter moves within Elizabeth's womb. Elizabeth praises Mary for her faith (using words partially reflected in the Hail Mary), and Mary responds with what is now known as the Magnificat.

Within the whole of Christianity, the Magnificat is most frequently recited within the Liturgy of the Hours. In Western Christianity, the Magnificat is most often sung or recited during the main evening prayer service: Vespers in the Catholic and Lutheran churches, and Evening Prayer (or Evensong) in Anglicanism. In Eastern Christianity, the Magnificat is usually sung at Sunday Matins. Among Protestant groups, the Magnificat may also be sung during worship services, especially in the Advent season during which these verses are traditionally read.

Source: Wikipedia (https://en.wikipedia.org/wiki/Magnificat ).

Although originally created for three unaccompanied mixed choirs (SATB), I created this Interpretation of the Magnificat à 12 for Winds (Bb Trumpet, Flugelhorn, French Horn, Tuba, Flute, Oboe, Bb Clarinet & Bassoon) & Strings (2 Violins, Viola & Cello).

Band WIP [Concert?? Band]

25 parts8 pages04:3427 days ago165 views
Flute, Oboe, Clarinet(3), Alto Saxophone(2), Tenor Saxophone, Baritone Saxophone, Trumpet(2), French Horn(2), Trombone, Tuba, Percussion(10)
Concert(???) band work in progress (idk if this should be classified as concert band or not help).

Wow! This is pretty different from the usual stuff I post on here, isn't it? I mean, for starters, it's a work in progress, which I never usually post, and sweet Gsus, look at the instrument count!

I have never worked on any really big ensemble pieces like this before, so please be kind! As this is a work in progress and I'm pretty much ad-libbing things, I hoped that publishing what I have so far would be a good way to ask for advice from band peeps and other composers to see what they think of it so far. I'm also hoping it'll prove to be motivation to keep me writing this (since I accidentally forgot it existed for like a semester...whoops).

The current plan: Next comes a more minor-y section that I have vague ideas for, and I'm not too sure what will come after that, but I do have the ending of the piece fairly fleshed-out. Any other ideas would be much welcomed, though! (Name ideas would also be much welcomed.)

Note: As this is a WIP project, I'm not really worrying about formatting right now, so there are pretty much no rehearsal markings and stuff. Also, there are some empty staves (i.e. oboe and unpitched percussion rip). I will add all of that stuff in later. I'm also not worrying about going soundfonting at this point, but here's slightly better audio if you really want it: https://drive.google.com/file/d/1soQrVrkQSbFqVy3yY6V1q_U1o5U0-jlP/view?usp=sharing


This is just a work in progress at the moment, so please do not perform this song. Do not take, share, or post this audio or sheet music anywhere else.

Enjoy! :)

Public Release Date: 26 January 2019

© Sophia Goudes 2019