Mass in E flat major. Carus Choir Coach

SKU: CA.5020100

ISBN 9790007087180.

SKU: CA.4066091

Key: E flat major. Text language: Latin.

For the new editions of the great Schubert Masses the editors have once again thoroughly and subtly reexamined the source material. This has resulted in historical-critical Urtext editons which differ from previous editions in many passages: these are major differences but many obvious details, especially dynamic and articulation are corrected (which has been a trouble spot in the Schubert Edition). The scholarly editions present the musical text in a manner which furthers historically informed performance practice. Score available separately - see item CA.4066000.

SKU: CA.4066094

Key: E flat major. Text language: Latin.

For the new editions of the great Schubert Masses the editors have once again thoroughly and subtly reexamined the source material. This has resulted in historical-critical Urtext editons which differ from previous editions in many passages: these are major differences but many obvious details, especially dynamic and articulation are corrected (which has been a trouble spot in the Schubert Edition). The scholarly editions present the musical text in a manner which furthers historically informed performance practice. Score available separately - see item CA.4066000.

SKU: CA.4066092

Key: E flat major. Text language: Latin.

For the new editions of the great Schubert Masses the editors have once again thoroughly and subtly reexamined the source material. This has resulted in historical-critical Urtext editons which differ from previous editions in many passages: these are major differences but many obvious details, especially dynamic and articulation are corrected (which has been a trouble spot in the Schubert Edition). The scholarly editions present the musical text in a manner which furthers historically informed performance practice. Score available separately - see item CA.4066000.

SKU: CA.4066093

Key: E flat major. Text language: Latin.

For the new editions of the great Schubert Masses the editors have once again thoroughly and subtly reexamined the source material. This has resulted in historical-critical Urtext editons which differ from previous editions in many passages: these are major differences but many obvious details, especially dynamic and articulation are corrected (which has been a trouble spot in the Schubert Edition). The scholarly editions present the musical text in a manner which furthers historically informed performance practice. Score available separately - see item CA.4066000.

SKU: CA.4066449

ISBN 9790007219871. Key: B flat major. Language: Latin.

The House of Esterhazy commissioned what are probably some of the most important masses to be written at the turn of the 18th to the 19th century: Joseph Haydn's last, six great masses, Beethoven's Mass in C major and the masses of Johann Nepomuk Hummel. The resonance in the contemporary musical press upon the publication of the B flat major Mass of 1816/17, Hummel's first Esterhazy mass, was exceptionally positive. In addition to the rather simply constructed wind parts, which can also be played by the organ, the work places greater demands on the strings and choir (without soloists) to master an effect-laden, expressive diversity ranging from pastoral simplicity and martial trumpet calls to artistically wrought fugues which is rarely encountered. The present new edition offers the first scholarly-critical edition of the work in a reliable musical text, including performance material. Score and part available separately - see item CA.4066400.

SKU: CA.4066411

ISBN 9790007219833. Key: B flat major. Language: Latin.

The House of Esterhazy commissioned what are probably some of the most important masses to be written at the turn of the 18th to the 19th century: Joseph Haydn's last, six great masses, Beethoven's Mass in C major and the masses of Johann Nepomuk Hummel. The resonance in the contemporary musical press upon the publication of the B flat major Mass of 1816/17, Hummel's first Esterhazy mass, was exceptionally positive. In addition to the rather simply constructed wind parts, which can also be played by the organ, the work places greater demands on the strings and choir (without soloists) to master an effect-laden, expressive diversity ranging from pastoral simplicity and martial trumpet calls to artistically wrought fugues which is rarely encountered. The present new edition offers the first scholarly-critical edition of the work in a reliable musical text, including performance material. Score and part available separately - see item CA.4066400.

SKU: CA.4066413

ISBN 9790007219857. Key: B flat major. Language: Latin.

The House of Esterhazy commissioned what are probably some of the most important masses to be written at the turn of the 18th to the 19th century: Joseph Haydn's last, six great masses, Beethoven's Mass in C major and the masses of Johann Nepomuk Hummel. The resonance in the contemporary musical press upon the publication of the B flat major Mass of 1816/17, Hummel's first Esterhazy mass, was exceptionally positive. In addition to the rather simply constructed wind parts, which can also be played by the organ, the work places greater demands on the strings and choir (without soloists) to master an effect-laden, expressive diversity ranging from pastoral simplicity and martial trumpet calls to artistically wrought fugues which is rarely encountered. The present new edition offers the first scholarly-critical edition of the work in a reliable musical text, including performance material. Score and part available separately - see item CA.4066400.

SKU: CA.4066419

ISBN 9790007141158. Key: B flat major. Language: Latin.

The House of Esterhazy commissioned what are probably some of the most important masses to be written at the turn of the 18th to the 19th century: Joseph Haydn's last, six great masses, Beethoven's Mass in C major and the masses of Johann Nepomuk Hummel. The resonance in the contemporary musical press upon the publication of the B flat major Mass of 1816/17, Hummel's first Esterhazy mass, was exceptionally positive. In addition to the rather simply constructed wind parts, which can also be played by the organ, the work places greater demands on the strings and choir (without soloists) to master an effect-laden, expressive diversity ranging from pastoral simplicity and martial trumpet calls to artistically wrought fugues which is rarely encountered. The present new edition offers the first scholarly-critical edition of the work in a reliable musical text, including performance material. Score and parts available separately - see item CA.4066400.

SKU: CA.4066403

ISBN 9790007137229. Key: B flat major. Language: Latin.

The House of Esterhazy commissioned what are probably some of the most important masses to be written at the turn of the 18th to the 19th century: Joseph Haydn's last, six great masses, Beethoven's Mass in C major and the masses of Johann Nepomuk Hummel. The resonance in the contemporary musical press upon the publication of the B flat major Mass of 1816/17, Hummel's first Esterhazy mass, was exceptionally positive. In addition to the rather simply constructed wind parts, which can also be played by the organ, the work places greater demands on the strings and choir (without soloists) to master an effect-laden, expressive diversity ranging from pastoral simplicity and martial trumpet calls to artistically wrought fugues which is rarely encountered. The present new edition offers the first scholarly-critical edition of the work in a reliable musical text, including performance material. Score available separately - see item CA.4066400.

SKU: CA.4066412

ISBN 9790007219840. Key: B flat major. Language: Latin.

The House of Esterhazy commissioned what are probably some of the most important masses to be written at the turn of the 18th to the 19th century: Joseph Haydn's last, six great masses, Beethoven's Mass in C major and the masses of Johann Nepomuk Hummel. The resonance in the contemporary musical press upon the publication of the B flat major Mass of 1816/17, Hummel's first Esterhazy mass, was exceptionally positive. In addition to the rather simply constructed wind parts, which can also be played by the organ, the work places greater demands on the strings and choir (without soloists) to master an effect-laden, expressive diversity ranging from pastoral simplicity and martial trumpet calls to artistically wrought fugues which is rarely encountered. The present new edition offers the first scholarly-critical edition of the work in a reliable musical text, including performance material. Score and part available separately - see item CA.4066400.

SKU: CA.4066414

ISBN 9790007219864. Key: B flat major. Language: Latin.

The House of Esterhazy commissioned what are probably some of the most important masses to be written at the turn of the 18th to the 19th century: Joseph Haydn's last, six great masses, Beethoven's Mass in C major and the masses of Johann Nepomuk Hummel. The resonance in the contemporary musical press upon the publication of the B flat major Mass of 1816/17, Hummel's first Esterhazy mass, was exceptionally positive. In addition to the rather simply constructed wind parts, which can also be played by the organ, the work places greater demands on the strings and choir (without soloists) to master an effect-laden, expressive diversity ranging from pastoral simplicity and martial trumpet calls to artistically wrought fugues which is rarely encountered. The present new edition offers the first scholarly-critical edition of the work in a reliable musical text, including performance material. Score and part available separately - see item CA.4066400.

SKU: CA.2709705

ISBN 9790007188962. Key: E flat major. Latin.

Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname Freischutz Mass because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music. In the Mass Weber responded to the local conditions in a particular way: he took into account liturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too operatic by critics, it was very well received by audiences and also pleased the King. * Practically oriented edition based on the sources, performance material available on sale for the first time * Easy to medium difficulty level * Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time.

SKU: CA.2709700

ISBN 9790007188948. Key: E flat major. Latin.

Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname Freischutz Mass because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music. In the Mass Weber responded to the local conditions in a particular way: he took into account liturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too operatic by critics, it was very well received by audiences and also pleased the King. * Practically oriented edition based on the sources, performance material available on sale for the first time * Easy to medium difficulty level * Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time.

SKU: CA.2709703

ISBN 9790007188955. Key: E flat major. Latin.

Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname Freischutz Mass because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music. In the Mass Weber responded to the local conditions in a particular way: he took into account liturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too operatic by critics, it was very well received by audiences and also pleased the King. * Practically oriented edition based on the sources, performance material available on sale for the first time * Easy to medium difficulty level * Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time.

SKU: CA.2709713

ISBN 9790007261764. Key: E flat major. Latin.

Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname Freischutz Mass because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music. In the Mass Weber responded to the local conditions in a particular way: he took into account liturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too operatic by critics, it was very well received by audiences and also pleased the King. * Practically oriented edition based on the sources, performance material available on sale for the first time * Easy to medium difficulty level * Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time.

SKU: CA.2709709

ISBN 9790007255114. Key: E flat major. Latin.

Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname Freischutz Mass because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music. In the Mass Weber responded to the local conditions in a particular way: he took into account liturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too operatic by critics, it was very well received by audiences and also pleased the King. * Practically oriented edition based on the sources, performance material available on sale for the first time * Easy to medium difficulty level * Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time.

SKU: CA.2709714

ISBN 9790007261771. Key: E flat major. Latin.

Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname Freischutz Mass because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music. In the Mass Weber responded to the local conditions in a particular way: he took into account liturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too operatic by critics, it was very well received by audiences and also pleased the King. * Practically oriented edition based on the sources, performance material available on sale for the first time * Easy to medium difficulty level * Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time.

SKU: CA.2709711

ISBN 9790007261740. Key: E flat major. Latin.

Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname Freischutz Mass because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music. In the Mass Weber responded to the local conditions in a particular way: he took into account liturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too operatic by critics, it was very well received by audiences and also pleased the King. * Practically oriented edition based on the sources, performance material available on sale for the first time * Easy to medium difficulty level * Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time.

SKU: CA.2709719

ISBN 9790007253363. Key: E flat major. Latin.

Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname Freischutz Mass because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music. In the Mass Weber responded to the local conditions in a particular way: he took into account liturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too operatic by critics, it was very well received by audiences and also pleased the King. * Practically oriented edition based on the sources, performance material available on sale for the first time * Easy to medium difficulty level * Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time.