Franzosisches Lied: Est-ce Mars? for Flute Ensemble

By: Samuel Scheidt (1587-1653) arranged by Keith Terrett
For: Quintet of Flutes
page one of Franzosisches Lied: Est-ce Mars? for Flute Ensemble

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Composer
Samuel Scheidt (1587-1653) arranged by Keith Terrett
Lyricist
Keith Terrett
Difficulty
Moderate (Grades 4-6)
Duration
6 minutes
Genre
Classical music
License details
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

An arrangement for Flute Choir of Samuel Scheidt’s Franzosisches Lied: Est-ce Mars?

This arrangements makes a challenging work for your choir, who should relish the rich sonorities of Scheidt’s rich tapestry.

Scheidt was born in Halle, and after early studies there, he went to Amsterdam to study with Sweelinck, the distinguished Dutch composer, whose work had a clear influence on Scheidt’s style. On his return to Halle, Scheidt became court organist, and later Kapellmeister, to the Margrave of Brandenburg. Unlike many German musicians, for example Heinrich Schütz, he remained in Germany during the Thirty Years’ War, managing to survive by teaching and by taking a succession of smaller jobs until the restoration of stability allowed him to resume his post as Kapellmeister. When Samuel Scheidt lost his job because of Wallenstein, he was appointed in 1628 as musical director over three churches in Halle, including the Market Church.

Scheidt was the first internationally significant German composer for the organ, and represents the flowering of the new north German style, which occurred largely as a result of the Protestant Reformation. In south Germany and some other countries of Europe, the spiritual and artistic influence of Rome remained strong, so most music continued to be derivative of Italian models. Cut off from Rome, musicians in the newly Protestant areas readily developed styles that were much different from those of their neighbors.

Scheidt’s music is in two principal categories: instrumental music, including a large amount of keyboard music, mostly for organ; and sacred vocal music, some of which is a cappella and some of which uses a basso continuo or other instrumental accompaniment. In his numerous chorale preludes, Scheidt often used a "patterned variation" technique, in which each phrase of the chorale uses a different rhythmic motive, and each variation is more elaborate than the previous one, until the climax of the composition is reached. In addition to his chorale preludes, he wrote numerous fugues, suites of dances (which were often in a cyclic form, sharing a common ground bass) and fantasias.

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Trumpet Tune from the Island Princess for Flute Quintet/Choir, Chorale Partita with Seven Variations for Wind Quintet (Alle Menshen), Times lost for Flute & Piano, Jerusalem for Flute Quintet (And Did Those Feet In Ancient Times), Three Welsh Chorales for Flute Quartet, Quando Me’n Vo for Flute & Piano, Queen of the Night Aria for Flute/Piccolo & Piano, O Mio Babbino Caro for Flute & Piano, Lustpiel Overture for Flute Choir, Echo for Flute Octet, Swing Low, Sweet Chariot for Flute & Keyboard, Arrival of the Queen of Sheba for two Flutes & String Orchestra, Arrival of the Queen of Sheba for Flute Choir, March from ’Judas Maccabaeus’ for Flexible Band (School Junior Band Series), Träumerei for Flute Choir, Fugue on B-a-c-h for Flute Quintet, Prelude from the Te Deum(Eurovision Song Contest Theme) for two Flutes & Organ, Stanley Trumpet Voluntary for Flute & Organ, Declamation for Flute & Piano, M’Appari Tutt’ Amor for Flute & Piano, Jazz it up: ’When the Saints Go Marching In’ for Flute & Piano, The Saint’s Visit Havana with a Touch of W.A.Mozart for Flute & Piano , Overture from Suite in D from the Water Music for two Flutes & Keyboard, Two Arias for Wind Quintet, Träumerei for Wind Quintet (Flt, Ob, Hn, Clt & Bsn), O Come All Ye Faithful for Flute, Violin & Cello, Mattinata for Flute & Piano, Were You There? Flute & Piano, Arioso (Sinfonia to Cantata Ich steh mit einem Fuß im Grabe) for Flute & Keyboard, Jasmine Flower (The) for solo Flute & Piano (Keith Terrett Classic Woodwind Series), Nessun Dorma for Flute & Piano, 8 Swinging Xmas Carols for Flute & Piano, Havana Rhubarb Rumba for two Flutes & Piano, Von Fremden Landern und Menschen for Flute Choir, 7 julsangs (Xmas carols) popular in Norway for Flute Quartet, Air from the Suite No. 3 in D for Flute Quartet, The Gypsy Flautist in New Orleans, Swing Low, Sweet Chariot for Wind Quintet, Czardas for Flute & Piano, What Shall We Do With The Drunken Flautist for Flute & Piano, Twenty Minute Tango for Flute & Piano, Fugue on B-a-c-h for Wind Quintet, Scenes from Childhood (Kinderszenen) Opus 15, for Wind Quintet, O Sole Mio for Flute & Piano, Stanley Trumpet Voluntary for Wind Quintet, Stanley Trumpet Voluntary for Two Flutes & Piano, Amazing Grace for Flute & Pianoforte, Fanfare & Soliloquy for Flute & Piano, Pachebel’s Canon for Flute Choir/Octet, Ancient Dances for Concert/Wind/Symphonic Band - Keith Terrett Classic Band Series, Czardas for Flute & Concert Band, A Serenade for Flute & Piano, Vesti La Giubba for C Tuba & Piano, That’s A Plenty for Clarinet Quintet (2 Bb’s, 1 Alto, 1 Bass & 1 Contra Bass in Bb), Piri piri for Concert/ Wind Band, Lustpiel Overture for Wind Quintet, Chinese National Anthem for Wind Quintet (March of the Volunteers) MFAO World National Anthem Series, Kanon in D minor, but not that one!, Israeli National Anthem (Hatikvah) for Wind Quintet (World National Anthem Series)., Air from the Suite No. 3 in D for Woodwind Quartet, Royal Hussar (The) Ceremonial Slow March for Concert/Wind Band (Keith Terrett Classic March Collection), VE March for Concert/Wind Band (Keith Terrett Classic March Collection), A Serenade for Wind Quintet, African Anthem Flute Quintet, Ave Maria for Oboe & Piano and 7 Popular carols in Norway for two Flutes

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