Mass for Double Choir a cappella

SKU: GH.GE-11556

ISBN 979-0-070-11556-8. A4 inches. Text: from the Ordinary mass.

For double choir a cappella.

SKU: OU.9780193416024

ISBN 9780193416024. 11 x 9 inches.

For SATB double choir unaccompanied Setting words from the Ordinary of the Lutheran Mass, this brief but resoundingly effective piece is perfect for opening a choral concert. The piece begins with each part entering a 3rd lower than the last, and the rich, resonant choral writing continues throughout the piece.

SKU: BR.CHB-5366-02

ISBN 9790004412961. 7.5 x 10.5 inches. Latin.

Kurt Thomas' Mass in a op. 1 for Soloists and two mixed choirs a cappella was composed in 1925 at the end of his music studies in Leipzig. It is dedicated to his patron, Thomaskantor (choirmaster of St. Thomas) Karl Straube, in highest gratitude and reverence. It was published in the same year as his first printed work by Breitkopf & Hartel, founding a long-term collaboration which later enabled the publication of the Small Sacred Choral Music op. 25 (ChB 5344) and the conducting tutorial Lehrbuch der Chorleitung (BV 271). In 1927, it was awarded with the Beethoven-Preis of the Prussian Academy of Arts. The work is set for double choir throughout, partly also giving way to eight-part passages and shorter sections in which the choir sings in turn with the four solo voices. The Venetian polychorality is also used as a stylistic device, emphasizing the model character of baroque choral music.

SKU: CA.5017211

ISBN 9790007080549. Key: B flat major. Language: Latin.

The Mass in B flat, op. 172, dates from 1892 and was published in two authentic versions. The instrumental accompaniment can be played either by an ensemble of wind instruments or by organ. Between Gloria and Credo Rheinberger placed a powerfully expressive a cappella Ave Maria, probably due to the fact that the Mass was first performed on a major feast day of the Virgin Mary: on the feast of Purification (Candlemas) in Breslau Cathedral. Score and part available separately - see item CA.5017200.

SKU: BR.CHB-5387

ISBN 9790004413883. 7.5 x 10.5 inches. Latin.

The performance material of the pioneering completion of Mozart's great Missa in cK. 427 by the Dutch musicologist Clemens Kemme is now completed with a choral score. The reconstruction, seen by many international experts as the most convincing solution, especially in the double-choir Sanctus fugue, thus becomes affordable for larger choirs. The compact and clearly arranged choral score is also considerably lighter than the piano vocal score; cue notes provide good orientation within the work.

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

SKU: CA.3500813

ISBN 9790007213015. Text language: Latin.

Johann Sebastian Bach was able to appreciate good works by other composers, as is shown by contemporary accounts, and by a glimpse into what remains of his music library. Francesco Durante, maestro di cappella in Naples, was known in his time as an accomplished composer, who in his sacred works sought to achieve accommodation between the strict stile antico and the stile moderno of concert music at that time. This combination distinguishes his Mass in C minor, and it may have been what awakened Johann Sebastian Bach's interest in this work. He copied it about 1730, not merely for study purposes but in order to perform it, as is indicated by various alterations which he made to the composition. Bach replaced the Christe by a composition of his own, and for the Kyrie II he used Durante's music for the Gloria, making the alterations required by the different words. A worthwhile discovery! Score and part available separately - see item CA.3500800.

SKU: BR.OB-5329-26

ISBN 9790004333556. 10 x 12.5 inches.

According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna, dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.

SKU: GI.G-8155

UPC: 785147815501. English, Latin. Translation: James Quinn, SJ. Text by Thomas Aquinas.

From unison to full 4-part harmony, the gradual amassing of forces adds interest and passion to this essential work. The final statement of the chant brings the piece to a glorious conclusion. Much of the piece is a cappella, but piano reductions and closed-score writing make it easy to double the voices for support, if needed.