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Le Livre Vermeil de Montserrat Viret Jacques A Coeur Joie PARTITION ACJ550010
30,85 € 30,85 € 30.85 EUR

Ce volume est consacré au célèbre “Llibre Vermell” de Montserrat ; intégralité des 10 oeuvres dans leurs restitutions accompagnées de leurs fac-similés en couleurs. Le Llibre Vermell, « Livre Vermeil », est le livre de pèlerinage compilé peu avant 1400 par les moines de l’abbaye de Montserrat en Catalogne, où une statue miraculeuse de la Vierge attirait chaque jour des cohortes de fidèles. Exhumé voici plus d’un siècle, il est devenu célèbre grâce à une petite dizaine de chants qui servaient au pieux divertissement des pèlerins. Ce fleuron exquis de la musique médiévale convient bien pour « initier » à elle des novices, choristes ou auditeurs. 1ère partie: Étude historique et musicale (1. Montserrat et la Catalogne médiévale – 2. Le Llibre Vermell – 3. Les chants du Llibre Vermell et leur édition – 4. Commentaires des chants). 2ème partie: Notes et références musicologiques. 3ème partie: Transcriptions et fac-similé du manuscrit

Contenu :

DIVERS - Ad mortem festinamus (virelai monodique)
DIVERS - Cuncti simus / o virgo splendens (virelai monodique)
DIVERS - Inperayritz / verges ses par (chanson à 2 voix), ton original
DIVERS - Inperayritz / verges ses par (chanson à 2 voix), transposition à 4te s
DIVERS - Laudemus virginem / splendens ceptigera (canon double à 2 ou 3 voix)
DIVERS - Los set gotxs recomptarem (ballade monodique)
DIVERS - Mariam matrem (virelai à 3 voix), ton original
DIVERS - Mariam matrem (virelai à 3 voix), transposition à la quarte supérieure
DIVERS - O virgo splendens (canon à 2 ou 3 voix)
DIVERS - Polorum regina (virelai monodique)
DIVERS - Stella splendens (virelai à 2 voix)
Passio et Mors Domini Nostri Iesu Christi secundum Lucam Penderecki Krzysztof choeur et orchestre Pwm - Polskie Wydawnictwo PWM5677
35,00 € 35,00 € 35.0 EUR

''Passio et Mors Domini Nostri Iesu Christi secundum Lucam'' by Krzysztof Penderecki - a work for three solo voices, narrator, boys' choir, three mixed choirs and symphony orchestra, dedicated to the composer's wife Elizabeth, - was written between 1962-65 in response to a commission from Westdeutschen Rundfunk to celebrate the 700th anniversary of Münster Cathedral. In taking up the subject of the passion and death of Christ in his Passion According to St. Luke, the composer drew upon the rich tradition of the Latin liturgy. The text of the Passion was taken from the Gospel according to St. Luke and supplemented by three excerpts from the Gospel according to St. John, important from the point of view of the dramaturgy of the whole. The choice of the key events of the gospel story and the omission of a number of marginal figures and motives have resulted in a considerable condensation of the text, the reduction of the narrative part of the Evangelist amounting to its dramatisation. Selected verses from important liturgical texts, set to music many times, such as the sequence Stabat Mater, the hymn Vexilla Regis (''O crux''), the Improperia Popule meus, or the antiphons ''Crux fidelis'' and ''Ecce lignum crucis, function'' as a commentary on the successive scenes. The musical language of the Passion combines tradition and modernity in a peculiar way: traditional sound material and unconventional timbres; quasi-tonal references and the twelve-tone technique; contrapuntal techniques derived from the Renaissance and the modern sonoristic techniques (e.g. clusters). The main motives and themes of the Passion are derived from two, artistically constructed, twelve-note series, in which the intervals of the third, minor second and tritone have a special function. The last four notes of the second series form the b-a-c-h motif, functioning as the thematic basis of several sections of the work, including the expanded Passacaglia Popule meus. The motive may be interpreted as a symbolic homage paid by the contemporary composer to his great predecessor. Although Penderecki's Passion is divided into two parts in accordance with baroque traditions, the caesura occurs at a different point from that of Bach's passions. In addition, fewer events are included, as the first part of the Passion starts with the scene of Jesus' Prayer at Gethsemane and ends with the great scene of Christ's trial; the second part opens with the Way to Golgotha and closes with the Death on the Cross. In the Evangelist's distinctive part, which is recited (and not sung in the form of the recitative as in a baroque passion), the tone of objective narrative is intensified, although there are moments in which the narrator, carried away by his emotions, seems to accompany the action. At the dramatic level as well there are references to the tradition of the genre: e.g. Christ's part is intended for a low voice (baritone) and in the dramatic tuba parts there occurs a clear amplification of the high register. The movements commenting on successive scenes are highly diverse. In scoring they range from the purely instrumental (lament at Figure 26) to arias for solo voices, sometimes with the participation of the choir (Deus meus), and expanded movements involving the participation of the soloists, choir and orchestra (e.g. Popule meus). The range of expression incorporates prayerful meditation (Miserere; Iudica me, Deus), lyrical cantabile singing (Domine, quis habitabit; Crux fidelis) and dramatised lament. Finally, with regard to form, use is made of short, through-composed forms and reprise structures, as well as expanded forms such as passacaglia. The framework of the Passion is clear. The introductory chorus O crux functions as an exposition, in which the main motives and sound structures as well as the subject of the work are presented, and it symbolically starts the rite. At the close the expanded Psalm ''In Te Domine speravi'' characteristically recapitulates the main motives and threads. The internal integration of the work is intensified by a complex system of anticipations and repetitions of important motives, among which the motive Domine, running throughout the work and closed with the minor third e-g, is prominent. Its symbolic transformation into a major third (E major) in the finale of the work emphasises the general message of hope. Krzysztof Penderecki's Passion occupies a special place in twentieth-century music. On the one hand, it is a thoroughly modern work, on the other - it forms part of the great tradition of sacred music in European culture. Together with the two-part Matins (part I. The Entombment of Christ; part II. Resurrection) it forms a paschal triptych, which - drawing upon the different kinds of spirituality of East and West - emphasises the universal ecumenical dimension of the event standing at the heart of Christianity. [Regina Chłopicka, translated by Ewa Cholewka]
Laudes Opus 5 Jean-Louis Florentz Leduc Musicsales AL29213
48,00 € 48,00 € 48.0 EUR
. SEIGNEUR DES LUMIÈRES -
HARPE DE MARIE - Chant des fleurs
DIS-MOI TON NOM - Prière pour délier les charmes
PLEURS DE LA VIERGE - Rempart de la croix
Missa "NE Timeas Maria" SZ08914 Gastoldi 4 Voix A Cappella Zerboni
33,20 € 33,20 € 33.2 EUR
Also Titled Ne timeas Maria. Antifone Mariane.
Gastoldi, Giovanni Giacomo, active 1582-1609
Christmas Cancan Um10572 Bartlett Crash Bang Wallop Percu Ption Et Pties A Ump
20,30 € 20,30 € 20.3 EUR
Partition - 8 Percussionnistes
Easy percussion music for the whole class (with piano accompaniment)

triangles, jingly metals, ‘anything else from the cupboard’, snare drums, cymbals, bass drums, timpani

4 Biblical Dances UM10083 Eben Orgue Ump
27,00 € 27,00 € 27.0 EUR
Agapê UM10093 Hakim Orgue Ump
22,40 € 22,40 € 22.400000000000002 EUR
AGAPÊ, 11', Chatou, 2001, UMP, to John Roberts, John Roberts, Royster Presbyterian Church,Norfolk, VA, USA, 16.07.02



He poured himself out, dew and bracing rain,
Upon Mary, that earth thirsting for Him.
Grain of wheat, he descended into earth;
He rose again from it sheaf and new Bread.

Saint Ephrem, Sermon for the 3rd Sunday after Epiphany



Agapê is a liturgical suite of three movements - prelude, communion and postlude - based on gregorian chants for the Feast of Corpus Christi. The opening movement, Lauda Sion salvatorem, paraphrases the first verse of the Corpus Christi Sequence in a series of symphonic variations. The middle movement, Bone pastor, panis vere, comments on verses 23 and 24 of the same Sequence in a varied lied-form. The finale,Tantum ergo sacramentum, is a joyful rondo on the last verse of the hymn Pange lingua.



« Il se répandit rosée et pluie vivifiante,

Sur Marie, cette Terre assoiffée de Lui.

Comme un grain ensuite, il se répandit dans le shéol

Remonta comme gerbe et pain nouveau. »

Saint Ephrem, Sermon du 3e Dimanche après l'Épiphanie


Agapê est une suite liturgique en trois mouvements - prélude, communion et postlude - bâtie sur des chants grégoriens pour la Fête Dieu. Le mouvement initial, Lauda Sion salvatorem, paraphrase le premier verset de la séquence du Corpus Christi dans une série de variations symphoniques. Le mouvement central, Bone pastor, panis vere, commente les versets 23 et 24 de la même séquence sous une forme lied variée. Le finale, Tantum ergo sacramentum, est un rondo joyeux sur le dernier verset de l'hymne Pange lingua.



Copyright © 2003 NajiHakim.com - All rights reserved.
Chant De Joie UM10096 Hakim Orgue Ump
15,00 € 15,00 € 15.0 EUR

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CHANT DE JOIE, 10', Chatou, 1997, UMP, to Thomas and Nancy Lancaster, Nancy Lancaster, House of Hope Presbyterian Church, St Paul, Minnesota, USA, 17.05.98


Chant de Joie (Song of Joy) is inspired by Psalm 150, and follows a rondo form with several folkloric tunes in its episodes.

Psalm 150

Praise the Lord! Praise God in His sanctuary;
Praise Him in His mighty firmament! Praise Him for His mighty acts;
Praise Him according to His excellent greatness!
Praise Him with the sound of the trumpet;
Praise Him with the lute and harp! Praise Him with the timbrel and dance;
Praise Him with stringed instruments and flutes! Praise Him with loud cymbals;
Praise Him with crashing cymbals! Let everything that has breath praise the Lord.
Praise the Lord!



Copyright © 2003 NajiHakim.com - All rights reserved.
Tombeau D' Olivier Messiaen UM10099 Hakim Orgue Ump
17,00 € 17,00 € 17.0 EUR

Spotify link 1. Par ma vie, par ma mort
Spotify link 2. Je rends grâce à Dieu
Spotify link 3. Christ avec le Saint-Esprit dans la Gloire du Père



LE TOMBEAU D'OLIVIER MESSIAEN, 20', Bayonne, 1993, UMP, à Yvonne Loriod, Naji Hakim, Inaugural Concert of the Grand-Orgue in La Trinité, Paris, 18.10.93

1) By my life, by my death
2) I give thanks to my God
3) Christ with the Holy Spirit in the Glory of the Father



In 1993 Naji Hakim succeeded Messiaen as organist at the church of La Trinite, Paris. He wrote this triptych that year and gave the first performance at his inaugral recital. It is dedicated to Messiaen's widow, Yvonne Lorriod, and in effect is an act of homage to the composer, since it draws on his musical techniques and even quotes from his works. Each piece is based on a quotation from St. Paul. The first is prefaced by two verses from the Epistle to the Philippians: 'Christ wil be honoured in my body, whether by life or by death.

For to me, to live is Christ, and to die is gain'. Life and Death are symbolised by two themes : for life a Russian folk song close to Messiaen's heart, and for death part of the plainchant for Easter Vespers, Ego Dormivi, et somnun cepi. The two themes are varied in alternation and with great force; dance-like passages are contrasted with free rhythms, and rich, saturated chords are releived by naked lines of melody. The second piece is much slower, gentler, and Hakim asks that it be played 'with love'. The quotation from St. Paul is once again from the Epistle to the Philippians: 'in all my remembrance of you, always in every prayer of mine for you, making my prayer with joy, thankful for your partnership in the gospel'. There are three sections, all based on a Maronite melody from the Lebanon, Hakim's birthplace.

In the first, the melody is played on the pedals against poignant harmonieson the swell manual, quoting from Messiaen's earlier piece, 'Les Offrandes oubliees'. The second, slightly faster section, alternates a melody on the plaintive vox humana stop with softly glowing chords typical of Messiaen's harmonic style. In the third section, curvaceous phrases of melody in double thirds are accompanied by a repeated cycle of chords articulated in a repeated rhythmic pattern of four notes, short-long-long-short. The final movement is like a vibrant, fitful toccata, with brilliant passages of rapidly alternating hands and feet. Hakim calls it an act of exalted praise to God the Holy Trinity. It is prefaced by two verses from St. Paul's Epistle to the Ephesians: 'God the Father bestowed on us his glorious grace in his Beloved; in Him we were sealed with the promised Holy Spirit'. The main theme comes from the second of Messiaen's 'Trois Petites Liturgies de la Presence Divine', which the full organ thunders out over a tightly circling bass line about halfway through the piece.

© Adrian Jack

Copyright © 2003 NajiHakim.com - All rights reserved.
Missa Resurrectionis UM10288 Hakim Soprano Solo Et Piano Ump
10,00 € 10,00 € 10.0 EUR

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MISSA RESURRECTIONIS for soprano solo, 14', Paris, 1994, UMP, to Caroline Pozderec, Kerstin Pettersson, Malmö, 21.09.94

Missa Resurrectionis, for unaccompanied soprano solo, was composed during the Holy Week of 1994. In it the harmonic potential of the modal or chromatic melodic line is firmly based on tonality. The absence of instrumental accompaniment answers the dual concern of economy and expression, the voice being allowed to convey, in the strongest manner, the meaning of the text which it must always serve.

© Naji Hakim
Gloria UM10375 Hakim Choeur Satb Et Orgue Ump
8,50 € 8,50 € 8.5 EUR
GLORIA for choir and organ, 10', Chatou, 2002, UMP, "To the joyful icon of Christ ... in the deepness of your heart!", The Bach Choir, Jane Watts, organ, David Hill, conductor, Al Bustan Festival, American University of Beirut, 02.03.03

Commissioned by The Bach Choir for performance on 2 March 2003
at the Al Bustan Festival, Beirut, conducted by David Hill

In this Gloria, the melody is predominantly of a popular character, with a harmonic language whose tonality is expanded by diatonic or oriental modes. The themes are mainly based on melodies from the childhood of the composer and refer to Maronite or Roman liturgical sources or to a profane theme by Glazounov. The orchestral texture of the organ writing is developed with a certain independence from the vocal parts as in Hakim's Messe Solennelle.
Glenalmond Suite (la joie) UM10614 Hakim Orgue Ump
18,00 € 18,00 € 18.0 EUR
GLENALMOND SUITE, 1. Strømmende - 2. Favnende - 3. Smilende - 4. Jublende, (other version for piano), 10', Chatou, til Sognepræst Hanne Margrethe Tougaard, 2007, UMP, Naji Hakim, Glenalmond College Chapel, 10.06.07

https://youtu.be/CORc5uqFb7w

In the same way that the pastor has for mission to gather the community, and go out, such as the Good Shepherd, to find the sheep that has gone astray, the bell has for mission to summon the faithful to the common Assembly, to reach out for the farthest ones, to wake up the dozing ones and stimulate the indifferent. This suite is based on the Glenalmond chime. The music prolongs here the christian symbolism of the bells to comment biblical quotations referring to the Good Shepherd. The opening movement, Strømmende (Streaming), develops the chime melody in a cantabile style, with a lively coda. In the second movement, Favnende (Embracing), the theme is articulated with ostinato figures and dark harmonic colour. The middle section, scherzando, prepares a clear diatonic recapitulation. Smilende (Smiling) is characterized by its light texture and registration (flutes 4 and manuals alone). Jublende (Jubilating) is a more developed movement combining rondo-sonata and variation forms.



”Now the God of peace, who brought back from the dead our Lord Jesus, that great Shepherd of the sheep, through the blood of the everlasting covenant, make you perfect in every good work to do His will, working in you that which is well pleasing in His sight, through Jesus Christ, to whom be glory for ever and ever. Amen.” Hebrews 13, 20-21



I. Strømmende (streaming)

”The Lord is my shepherd; I shall not want. He maketh me to lie down in green pastures; He leadeth me beside the still waters.” Psalm 23, 1-2

II. Favnende (Embracing)

”If a man have a hundred sheep and one of them be gone astray, doth he not leave the ninety and nine, and goeth into the mountains and seeketh that which is gone astray? And if it so be that he find it, verily I say unto you, he rejoiceth more over that sheep than over the ninety and nine which went not astray.” Mat. 18, 12-13

III. Smilende (Smiling)

”Thou anointest my head with oil; my cup runneth over.” Psalm 23, 5

IV. Jublende (Jubilating)

”Surely goodness and mercy shall follow me all the days of my life; and I will dwell in the house of the Lord for ever.” Psalm 23, 6
Ave Maris Stella UM10615 Hakim Choeur Satb Et Orgue Ump
16,70 € 16,70 € 16.7 EUR

https://ump.co.uk/wp-content/uploads/2015/10/HakimAvemarisstella1.mp3


AVE MARIS STELLA for choir and organ - Ave maris stella - Sumens illud Ave (organ solo) - Solve vincla reis - Monstra te esse matrem (organ solo) - Virgo singularis - Vitam praesta puram (organ solo) - Sit laus Deo, 15', Chatou/

Bayonne, 2003, UMP, To Sean Farrell, Director of Performance, Trinity College of Music, London and Stephen Jackson, Conductor of the Trinity College of Music Chamber Choir, Sean Farrell, organ, Trinity College of Music Chamber Choir, Dir. Stephen Jackson, Trinity College of Music, London, 19.01.04



AVE MARIS STELLA for choir and organ - Sean Farrell, organ, Trinity College of Music Chamber Choir, Dir. Stephen Jackson, Trinity College of Music, London, 19.01.04 - Audio clips, used with kind permission of Sean Farrell.



The melody and the text of the Gregorian hymn Ave maris stella give the essence of this suite in seven verses, that pays a homage to the Blissful Virgin Mary. The composition proceeds by alternation of verses for accompanied choir and for organ solo, after the alternatim tradition that flourised in 16th and 17th century France.

The initial verse, Ave maris stella, presents the melody in its original aspect with female voices; the organ part suggests in a figuralistic way the expressions maris stella and felix caeli porta. The angelic greeting evoked in the second verse, Sumens Ave illud, for organ solo, is expressed by an ornamental variation of the melody, registered on the cornet, with oriental modality and rhythms. Solve vincla reis is developed by the choir, in canon between the outer parts; the organ draws an accompaniment in ostinato on the beginning of the theme. Monstra te esse matrem is an instrumental paraphrase of sumat per te preces; fast ascending arpeggios articulate the joyous and voluble developments raising more and more to the treble before the energetic conclusion. Arpeggios on the beginning of the theme introduce the following verse, Virgo singularis; this one offers an arrangement for choir that underlines the sweetness; it links itself to an instrumental counterpoint on initial and final periods of the plainsong before the coda. Vitam praesta puram is a joyous toccata whose central part comments on the second period of the hymn. The last verse,Sit laus Deo, is developed in a fugal exposition with a canonic coda. The instrumental accompaniment underlines counterpoints by its broken arpeggios in perpetuum mobile .

© Naji Hakim 2003



La mélodie et le texte de l'hymne grégorienne Ave maris stella donnent l'essence de cette suite en sept versets, qui rend hommage à la Bienheureuse Vierge Marie. La composition procède par alternance de versets pour chœur accompagné et pour orgue seul, d'après la tradition de l'alternatim développé en France dans les XVIe et XVIIe siècles.

Le verset initial, Ave maris stella, présente la mélodie dans son aspect originel aux voix de femmes ; la partie d'orgue suggère de manière figuraliste les expressions maris stella et felix caeli porta. La salutation angélique évoquée dans le deuxième verset, Sumens illud Ave, pour orgue seul, se traduit par une variation ornementale de la mélodie, registrée sur le cornet, avec une modalité et une rythmique orientales. Solve vincla reis est développé au chœur, en canon entre les parties extrêmes ; l'orgue dessine un accompagnement en ostinato sur la tête du thème. Monstra te esse matrem est une paraphrase instrumentale de la période, sumat per te preces ; des groupes-fusées y articulent les développements joyeux et volubiles de plus en plus aigus avant la conclusion énergique. Des arpèges sur la tête du thème introduisent le verset suivant, Virgo singularis ; celui-ci offre un arrangement pour chœur qui souligne la douceur ; il s'enchaîne à un contrepoint instrumental sur les incises initiale et finale du plain-chant avant la coda. Vitam praesta puram est une joyeuse toccata dont la partie centrale commente la deuxième incise de l'hymne. Le dernier verset, Sit laus Deo, se développe en une exposition fuguée et une coda canonique. L'accompagnement instrumental souligne les contrepoints par ses arpèges brisés en perpetuum mobile.

© Naji Hakim 2003

1. Ave maris stella, Dei Mater alma, Atque semper Virgo, Felix caeli porta.
Je vous salue étoile de la mer, auguste mère de Dieu, toujours demeurée vierge, douce porte du ciel.
Hail, O Star of the ocean, God's own Mother blest, ever sinless Virgin, gate of heav'nly rest.

2. Sumens illud Ave Gabrielis ore, Funda nos in pace, Mutans Hevae nomen.
En accueillant cet Ave des lèvres de Gabriel, affermissez-nous dans la paix en changeant le nom d'Eve.
Taking that sweet Ave, which from Gabriel came, peace confirm within us, changing Eve's name.

3. Solve vincla reis, Profer lumen caecis : Mala nostra pelle, Bona cuncta posce.
Dénouez les liens des pécheurs, rendez la lumière aux aveugles, éloignez tous nos maux, obtenez-nous tous les biens.
Break the sinners' fetters, make our blindness day, Chase all evils from us, for all blessings pray.

4. Monstra te esse matrem : Sumat per te preces, Qui pro nobis natus, Tulit esse tuus.
Montrez que vous êtes mère : en faisant agréer nos prières par celui qui pour nous daigna naître de vous.
Show thyself a Mother, may the Word divine born for us thine Infant hear our prayers through thine.

5. Virgo singularis, Inter omnes mitis, Nos culpis solutos, Mites fac et castos.
O vierge sans égale, douce entre toutes les vierges, nous délivrant du péché, rendez-nous chastes et doux.
Virgin all excelling, mildest of the mild, free from guilt preserve us meek and undefiled.

6. Vitam praesta puram, Iter para tutum : Ut videntes Jesum, Semper collaetemur.
Donnez-nous une vie pure, assurez-nous des chemins sûrs : afin que la vue de Jésus nous donne à jamais part à votre joie.
Keep our life all spotless, make our way secure till we find in Jesus, joy for evermore.

7. Sit laus Deo Patri, Summo Christo decus, Spiritui Sancto, Tribus honor unus. Amen.
Louange à Dieu le Père ainsi qu'au Christ dans sa gloire et à l'Esprit-Saint, aux Trois personnes honneur égal. Amen.
Praise to God the Father, honor to the Son, in the Holy Spirit, be the glory one. Amen.