Missa in F (Mass in F major)

Mozart, Wolfgang Amadeus Missa C major K. 220 (196b) Sparrow Mass Arranged for female choir SMezAA Details Edition no.: BA 5693 ISMN: 9790006523382 Volume / Series: Female Choir Arranger: Breuer, Heribert Language(s) of work: Latin Language(s) of text: German, English Product format: Score Includes the following individual parts: Voice, Mixed choir, Orchestra Binding: Stapled Pages / Format: III, 44 S. - 31,0 x 24,3 cm Mozart?s ?Missa in C major? (K. 220), nicknamed the ?Sparrow Mass? for its frequently recurring characteristic motifs in the violins, has retained a firm place in the choral repertoire to the present day. Now it has been arranged for female choir and is appearing as part of the recently started ?Bärenreiter Female Choir? series. Heribert Breuer has judiciously transferred the tenor and bass solos to the high voices and incorporated the original soprano and alto parts largely unchanged into the solo and chorus parts. He has thereby retained the work?s original substance while giving it a wholly new and delightful sound. ? Arrangement for female choir (SMezAA) based on the Urtext of the ?New Mozart Edition? ? Idiomatic piano reduction Heribert Breuer was professor of choral conducting and music theory at Berlin University of the Arts until 2010. He is the founder and director of the Berlin Bach Akademie and has made a name for himself with his many arrangements of works from Bach to Schubert.

Arrangeur: Willi Schulze. Par MOZART WOLFGANG AMADEUS. The G major mass of Mozart followed a very special type of mass pattern, namely, that of the 'Missa pastoralis'. In Mozart's time it was a widespread type of mass, especially in Bohemia and Italy, in which melodies and rhythms like those familiar from pastoral Christmas music were frequently found. The themes in this type of mass are song-like and often make use of folksongs or references to well-known tunes. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Violons, Violoncelle

G-Dur. Par MOZART WOLFGANG AMADEUS. The G major mass of Mozart followed a very special type of mass pattern, namely, that of the 'Missa pastoralis'. In Mozart's time it was a widespread type of mass, especially in Bohemia and Italy, in which melodies and rhythms like those familiar from pastoral Christmas music were frequently found. The themes in this type of mass are song-like and often make use of folksongs or references to well-known tunes. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Violons, Violoncelle

G-Dur. Par MOZART WOLFGANG AMADEUS. The G major mass of Mozart followed a very special type of mass pattern, namely, that of the 'Missa pastoralis'. In Mozart's time it was a widespread type of mass, especially in Bohemia and Italy, in which melodies and rhythms like those familiar from pastoral Christmas music were frequently found. The themes in this type of mass are song-like and often make use of folksongs or references to well-known tunes. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Violons, Violoncelle

Arrangeur: Willi Schulze. Par MOZART WOLFGANG AMADEUS. The G major mass of Mozart followed a very special type of mass pattern, namely, that of the 'Missa pastoralis'. In Mozart's time it was a widespread type of mass, especially in Bohemia and Italy, in which melodies and rhythms like those familiar from pastoral Christmas music were frequently found. The themes in this type of mass are song-like and often make use of folksongs or references to well-known tunes. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Violons, Violoncelle

Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale

Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale

Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale

Nelson Mass-The so-called ?Nelson Mass? is the third of the six great High Masses that Haydn wrote between 1796 and 1802 for the name-days of Princess Maria Josepha Hermenegild Esterházy. According to the dates given in the autograph he composed the work in the period between 10 July and 31 August 1798. It was thus written in the year of the first performance of the Creation.Urtext of the Joseph Haydn Complete EditionSoprano solo Alto solo Tenor solo Bass solo Mixed choir (SATB) Flute Oboe (2) Clarinet (in B-flat) (2) Bassoon Horn (2) Trumpet (3) Kettledrum Strings Basso continuoFull score together withMissa in B major (Theresa Mass) Hob.XXII:12 (BA4660-01) Performance material (BA4660) vocal score (BA4660-90) and study score format 22.5 x 16.5cm (TP98) available for sale

Nelson Mass-The so-called ?Nelson Mass? is the third of the six great High Masses that Haydn wrote between 1796 and 1802 for the name-days of Princess Maria Josepha Hermenegild Esterházy. According to the dates given in the autograph he composed the work in the period between 10 July and 31 August 1798. It was thus written in the year of the first performance of the Creation.Urtext of the Joseph Haydn Complete EditionSoprano solo Alto solo Tenor solo Bass solo Mixed choir (SATB) Flute Oboe (2) Clarinet (in B-flat) (2) Bassoon Horn (2) Trumpet (3) Kettledrum Strings Basso continuoFull score together withMissa in B major (Theresa Mass) Hob.XXII:12 (BA4660-01) Performance material (BA4660) vocal score (BA4660-90) and study score format 22.5 x 16.5cm (TP98) available for sale

Nelson Mass-The so-called ?Nelson Mass? is the third of the six great High Masses that Haydn wrote between 1796 and 1802 for the name-days of Princess Maria Josepha Hermenegild Esterházy. According to the dates given in the autograph he composed the work in the period between 10 July and 31 August 1798. It was thus written in the year of the first performance of the Creation.Urtext of the Joseph Haydn Complete EditionSoprano solo Alto solo Tenor solo Bass solo Mixed choir (SATB) Flute Oboe (2) Clarinet (in B-flat) (2) Bassoon Horn (2) Trumpet (3) Kettledrum Strings Basso continuoFull score together withMissa in B major (Theresa Mass) Hob.XXII:12 (BA4660-01) Performance material (BA4660) vocal score (BA4660-90) and study score format 22.5 x 16.5cm (TP98) available for sale

Nelsonmesse-The so-called ?Nelson Mass? is the third of the six great High Masses that Haydn wrote between 1796 and 1802 for the name-days of Princess Maria Josepha Hermenegild Esterházy. According to the dates given in the autograph he composed the work in the period between 10 July and 31 August 1798. It was thus written in the year of the first performance of the Creation.Urtext of the Joseph Haydn Complete EditionSoprano solo Alto solo Tenor solo Bass solo Mixed choir (SATB) Flute Oboe (2) Clarinet (in B-flat) (2) Bassoon Horn (2) Trumpet (3) Kettledrum Strings Basso continuoFull score together withMissa in B major (Theresa Mass) Hob.XXII:12 (BA4660-01) Performance material (BA4660) vocal score (BA4660-90) and study score format 22.5 x 16.5cm (TP98) available for sale

The Mass K.262 (246a) is known as Missa longa. Leopold Mozart designated it so next to the incipit on the cover of the autograph collection of five masses in C major by his son. Mozart literature gives the year of origin as 1776 without mentioning the speculative nature of this claim.The monumentality of the Missa longa suggests that the work was written for a particularly solemn occasion. When scanning for outstanding ecclesiastical events in the 1770?s one cannot ignore the consecration of Ignaz Josef Count Spaur coadjutor and administrator of the diocese of Brixen as titular bishop of Chrysopel on 17 November 1776 in the Salzburg cathedral. Erich Schenk claimsthat Leopold Mozart?s mention of Wolfgang?s ?Spaur Mass? in a letter of 28 May 1778 was in reference to the consecration of Ignaz Josef Spaur an old friend of the Mozart family. Mozart?s work would then have to be seen as an homage of a truly personal nature. The Missa longa is the only setting of the Ordinary from this period which is appropriate to such a highly solemn event.Urtext of the ?New Mozart Edition? Ideal for church services and concert performances Full score & performance material (BA4853) and vocal score (BA4853-90) for sale