Benedictus sit Deus Pater

Soprano voice solo, SATB choir, 2 flutes, 2 horns, 2 trumpets, timpani, 2 violins, 2 violas, cello/bassoon/contrabass, organ

SKU: CA.4004419

Composed by Wolfgang Amadeus Mozart. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Benedictus Sit Deus Pater Rev.2001. Sacred vocal music, Easter and Eastertide, Trinity, Praise and thanks. Set of Orchestra Parts. Composed 1768. KV 117. Duration 11 minutes. Carus Verlag #CV 40.044/19. Published by Carus Verlag (CA.4004419).

ISBN 9790007134426. Key: C major. Language: Latin.

Score and parts available separately - see item CA.4004400.

Soprano voice solo, SATB choir, 2 flutes, 2 horns, 2 trumpets, timpani, 2 violins, 2 violas, cello/bassoon/contrabass, organ

SKU: CA.4004405

Composed by Wolfgang Amadeus Mozart. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Benedictus Sit Deus Pater Rev.2001. Sacred vocal music, Easter and Eastertide, Trinity, Praise and thanks. Choral Score. Composed 1768. KV 117. 8 pages. Duration 11 minutes. Carus Verlag #CV 40.044/05. Published by Carus Verlag (CA.4004405).

ISBN 9790007058517. Key: C major. Language: Latin.

Score available separately - see item CA.4004400.

Soprano voice solo, SATB choir, 2 flutes, 2 horns, 2 trumpets, timpani, 2 violins, 2 violas, cello/bassoon/contrabass, organ

SKU: CA.4004415

Composed by Wolfgang Amadeus Mozart. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Benedictus Sit Deus Pater Rev.2001. Sacred vocal music, Easter and Eastertide, Trinity, Praise and thanks. Single Part, Cello/Double Bass. Composed 1768. KV 117. 4 pages. Duration 11 minutes. Carus Verlag #CV 40.044/15. Published by Carus Verlag (CA.4004415).

ISBN 9790007058579. Key: C major. Language: Latin.

Score available separately - see item CA.4004400.

Soprano voice solo, SATB choir, 2 flutes, 2 horns, 2 trumpets, timpani, 2 violins, 2 violas, cello/bassoon/contrabass, organ

SKU: CA.4004411

Composed by Wolfgang Amadeus Mozart. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Benedictus Sit Deus Pater Rev.2001. Sacred vocal music, Easter and Eastertide, Trinity, Praise and thanks. Single Part, Violin 1. Composed 1768. KV 117. 4 pages. Duration 11 minutes. Carus Verlag #CV 40.044/11. Published by Carus Verlag (CA.4004411).

ISBN 9790007058531. Key: C major. Language: Latin.

Score available separately - see item CA.4004400.

Soprano voice solo, SATB choir, 2 flutes, 2 horns, 2 trumpets, timpani, 2 violins, 2 violas, cello/bassoon/contrabass, organ

SKU: CA.4004403

Composed by Wolfgang Amadeus Mozart. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Benedictus Sit Deus Pater Rev.2001. Sacred vocal music, Easter and Eastertide, Trinity, Praise and thanks. Vocal score. Composed 1768. KV 117. 16 pages. Duration 11 minutes. Carus Verlag #CV 40.044/03. Published by Carus Verlag (CA.4004403).

ISBN 9790007088576. Key: C major. Language: Latin.

Score available separately - see item CA.4004400.

Soprano voice solo, SATB choir, 2 flutes, 2 horns, 2 trumpets, timpani, 2 violins, 2 violas, cello/bassoon/contrabass, organ

SKU: CA.4004449

Composed by Wolfgang Amadeus Mozart. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Benedictus Sit Deus Pater Rev.2001. Sacred vocal music, Easter and Eastertide, Trinity, Praise and thanks. Single Part, Organ. Composed 1768. KV 117. 8 pages. Duration 11 minutes. Carus Verlag #CV 40.044/49. Published by Carus Verlag (CA.4004449).

ISBN 9790007058586. Key: C major. Language: Latin.

Score available separately - see item CA.4004400.

Soprano voice solo, SATB choir, 2 flutes, 2 horns, 2 trumpets, timpani, 2 violins, 2 violas, cello/bassoon/contrabass, organ

SKU: CA.4004414

Composed by Wolfgang Amadeus Mozart. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Benedictus Sit Deus Pater Rev.2001. Sacred vocal music, Easter and Eastertide, Trinity, Praise and thanks. Single Part, Viola 2. Composed 1768. KV 117. 4 pages. Duration 11 minutes. Carus Verlag #CV 40.044/14. Published by Carus Verlag (CA.4004414).

ISBN 9790007058562. Key: C major. Language: Latin.

Score available separately - see item CA.4004400.

Soprano voice solo, SATB choir, 2 flutes, 2 horns, 2 trumpets, timpani, 2 violins, 2 violas, cello/bassoon/contrabass, organ

SKU: CA.4004412

Composed by Wolfgang Amadeus Mozart. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Benedictus Sit Deus Pater Rev.2001. Sacred vocal music, Easter and Eastertide, Trinity, Praise and thanks. Single Part, Violin 2. Composed 1768. KV 117. 4 pages. Duration 11 minutes. Carus Verlag #CV 40.044/12. Published by Carus Verlag (CA.4004412).

ISBN 9790007058548. Key: C major. Language: Latin.

Score available separately - see item CA.4004400.

Soprano voice solo, SATB choir, 2 flutes, 2 horns, 2 trumpets, timpani, 2 violins, 2 violas, cello/bassoon/contrabass, organ

SKU: CA.4004413

Composed by Wolfgang Amadeus Mozart. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Benedictus Sit Deus Pater Rev.2001. Sacred vocal music, Easter and Eastertide, Trinity, Praise and thanks. Single Part, Viola 1. Composed 1768. KV 117. 4 pages. Duration 11 minutes. Carus Verlag #CV 40.044/13. Published by Carus Verlag (CA.4004413).

ISBN 9790007058555. Key: C major. Language: Latin.

Score available separately - see item CA.4004400.

By Wolfgang Amadeus Mozart (1756-1791). For Solo Soprano, SATB Choir, 2 Flutes, 2 Horns, 2 Trumpets, Timpani, 2 Violins, 2 Violas, Cello/Bassoon/Contrabass, Organ. This edition: paperbound. KV 117 (66a = 47b). Stuttgart Urtext Editions; Use / Occasion: Praise and thanks; Use during church year: Easter and Eastertide, Trinity. Score. Language: Latin. Composed 1768. 24 pages. Duration 11 min. Published by Carus Verlag

By Wolfgang Amadeus Mozart (1756-1791). For Solo Soprano, SATB Choir, 2 Flutes, 2 Horns, 2 Trumpets, Timpani, 2 Violins, 2 Violas, Cello/Bassoon/Contrabass, Organ. KV 117 (66a = 47b). Full score available separately - see item CA.4004400. Stuttgart Urtext Editions; Use / Occasion: Praise and thanks; Use during church year: Easter and Eastertide, Trinity. Set of instrumental parts (except strings). Language: Latin. Composed 1768. 14 pages. Duration 11 min. Published by Carus Verlag

SKU: CA.5100100

Composed by Wolfgang Amadeus Mozart. This edition: urtext. Stuttgart Urtext Edition: Mozart. German title: Kleinere Kirchenwerke (Schuber 2). Sacred, Cantatas, Litanies, Mass Sections, Motets; Occasions: Praise and thanks, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Tantum ergo; Use during church year: Holy Week. Package. Carus Verlag #CV 51.001/00. Published by Carus Verlag (CA.5100100).

ISBN 9790007087654.

Foll owing the great success of the first set of Mozart Masses and Vesper settings, Carus is offering a set of all his additional sacred works as study scores in an attractive case. The editions are based on the latest musicological developments and they offer musicians and music lovers alike a treasure of Mozart's sacred music.

Orchestra

SKU: CA.4076707

Composed by Wolfgang Amadeus Mozart. Mozart; Kleinere Kirchenwerke, Exsultate Jub. Hymns, Praise and thanks, Tantum ergo. Study score. Composed 1773. Carus Verlag #CV 40.767/07. Published by Carus Verlag (CA.4076707).

ISBN 9790007087395.

Scor e available separately - see item CA.4076700.

Organ (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))

SKU: BR.OB-5329-11

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Orchester-Bibliothek (Orchestral Library). Mass; Classical. Part. Composed 1780. 16 pages. Duration 20'. Breitkopf and Haertel #OB 5329-11. Published by Breitkopf and Haertel (BR.OB-5329-11).

ISBN 9790004333525. 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.

Violin 2 (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))

SKU: BR.OB-5329-16

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Orchester-Bibliothek (Orchestral Library). Mass; Classical. Part. Composed 1780. 12 pages. Duration 20'. Breitkopf and Haertel #OB 5329-16. Published by Breitkopf and Haertel (BR.OB-5329-16).

ISBN 9790004333549. 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.

Basso (cello/double bass) (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))

SKU: BR.OB-5329-26

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Orchester-Bibliothek (Orchestral Library). Mass; Classical. Part. Composed 1780. 8 pages. Duration 20'. Breitkopf and Haertel #OB 5329-26. Published by Breitkopf and Haertel (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.

Woodwinds (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))

SKU: BR.OB-5329-30

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Folder. Orchester-Bibliothek (Orchestral Library). Mass; Classical. Set of parts. Composed 1780. 56 pages. Duration 20'. Breitkopf and Haertel #OB 5329-30. Published by Breitkopf and Haertel (BR.OB-5329-30).

ISBN 9790004333563. 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.

(solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))

SKU: BR.CHB-5289-02

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Chor-Bibliothek (Choral Library). Mass; Classical. Choral score. Composed 1780. 44 pages. Duration 20'. Breitkopf and Haertel #ChB 5289-02. Published by Breitkopf and Haertel (BR.CHB-5289-02).

ISBN 9790004412046. 7.5 x 10.5 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.

Chorus (with soloists) and orchestra (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))

SKU: BR.PB-5329

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Choir; Softbound. Partitur-Bibliothek (Score Library). Mass; Classical. Full score. Composed 1780. 68 pages. Duration 20'. Breitkopf and Haertel #PB 5329. Published by Breitkopf and Haertel (BR.PB-5329).

ISBN 9790004210420. 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.

Violin 1 (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))

SKU: BR.OB-5329-15

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Orchester-Bibliothek (Orchestral Library). Mass; Classical. Part. Composed 1780. 12 pages. Duration 20'. Breitkopf and Haertel #OB 5329-15. Published by Breitkopf and Haertel (BR.OB-5329-15).

ISBN 9790004333532. 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.

By Jan Dismas Zelenka. Edited by Kohlhase, Thomas. Arranged by Paul Horn. For SATB Choir, Basso continuo. ZWV 207. Full score available separately - see item CA.4046100. Occasions: Praise and thanks; Use during church year: Easter and Eastertide. Choral score. Language: Latin. 4 pages. Duration 3 min. Published by Carus Verlag (German import).

By Jan Dismas Zelenka. Edited by Kohlhase, Thomas. Arranged by Paul Horn. For SATB Choir, Basso continuo. ZWV 207. Full score available separately - see item CA.4046100. Occasions: Praise and thanks; Use during church year: Easter and Eastertide. Part: Violoncello/Contrabass. Language: Latin. 2 pages. Duration 3 min. Published by Carus Verlag (German import).

By Jan Dismas Zelenka. Edited by Kohlhase, Thomas. Arranged by Paul Horn. For SATB Choir, Basso continuo. ZWV 207. Occasions: Praise and thanks; Use during church year: Easter and Eastertide. Score. Language: Latin. 8 pages. Duration 3 min. Published by Carus Verlag (German import).

For Choral. (Vocal Scores). CD Sheet Music (Version 2.0). PDF file on CD. 5400 pages. Published by Subito Music.

SKU: CA.5020700

Composed by Josef Gabriel Rheinberger. Edited by Barbara Mohn. This edition: Complete edition, linen cover. Josef Gabriel Rheinberger - Complete Works. German title: Geistliche Gesange Ii Gem. Chor. Sacred, Hymns, Motets; Complete editions; Use during church year: Advent, Easter and Eastertide. Full score (complete edition / selected edition). 264 pages. Carus Verlag #CV 50.207/00. Published by Carus Verlag (CA.5020700).

ISBN 9790007090241.

For lovers of romantic choral music this volume is a treasure trove. It contains the complete motets for mixed choir a cappella (with opus numbers) published by the Munich Court Composer. Among these works is the famous Abendlied in its original version, which he composed in his youth. The version with Latin text is also published, as well as the Motets op. 58 and 107 - until now the latter collections had yet to be published in new editions. This volume contains numerous facsimiles and historical information concerning the music.