Complete Performance
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Complete Performance
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Synthesized Performance
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Synthesized Performance
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Complete Parts (Cantus, Altus, Tenor, Bassus)
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Complete Score "Dans une étable obscure"
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Engraving files (MusiXTeX)
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Complete Score
*#158120 - 0.03MB, 1 pp. -
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Complete Score (D major)
*#451663 - 0.04MB, 1 pp. -
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Complete Score
*#259019 - 0.05MB, 2 pp. -
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Engraving Files (Lilypond)
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Complete Score (C major)
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⇒ 18 more: Flute 1 • Flute 2 • Oboe 1 • Oboe 2 • Clarinet 1 (B♭) • Clarinet 2 (B♭) • Bassoon 1 • Bassoon 2 • Horn 1 (F) • Horn 2 (F) • Trumpet 1 (B♭) • Trumpet 2 (B♭) • Timpani • Violins I • Violins II • Violas • Cellos • Basses
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⇒ 5 more: Trumpet 1/2 (C) • Trumpet 1/2 (B♭) • Trombone 1/2 • Choir • Engraving files (Finale)
Engraving files (Finale)
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Complete Score (G major)
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Complete Score (E♭ major)
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Complete Score (D major)
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Complete Score (TTBB)
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⇒ 5 more: Flute • Oboe • Clarinet (B♭) • Bassoon • Horn (F)
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Engraving files (Finale)
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Complete Score and Parts
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Engraving files (Finale & XML)
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Work Title | Es ist ein Ros entsprungen |
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Alternative. Title | Lo, How a Rose E’er Blooming |
Name Translations | Det hev ei rose sprunge; エサイの根より; Dans une étable obscure; Det är en ros utsprungen; Es ist ein' Ros' entsprungen; [4 more...]En rose er utsprungen; En rose så jeg skyde; Una rosa brotó; Tumbuhlah Tunas Baru |
Name Aliases | Es ist ein Ros' entsprungen; Det hev ei rosa sprunge; Det har ei rosa sprunge; A Spotless Rose is Growing; Er is een roos ontsprongen; [3 more...]En rose er utsprunget; Una rosa broto; Lo, how a rose e'er blooming |
Authorities | WorldCat; Wikipedia; VIAF: 181850865; LCCN: n2002066667 |
Composer | Praetorius, Michael |
I-Catalogue NumberI-Cat. No. | IMP 5 |
First Publication. | 1609 in Musae Sioniae, 6. Theil (No.53) |
Language | German |
Composer Time PeriodComp. Period | Renaissance |
Piece Style | Renaissance |
Instrumentation | mixed chorus (SATB) |
Related Works | Based upon the anonymous work Es ist ein Ros entsprungen |
External Links | Wikipedia article on original chorale |
Extra Information | The tune's composer is unknown, but this a capella arrangement by Praetorius has become the standard. As one expert wrote, "The four-part setting of the above by Michael Praetorius, 1609, cannot possibly be improved." G.R. Woodward, German Hymnody (From the Twelfth To the Middle Of the Seventeenth Century), J. Royal Music. Assn. 1905;32(1):73-99, at pp.78-79. |