Mozarts fragment in the version completed by Joseph Eybler und Franz Xaver Süßmayr-Requiem K.626 The Requiem completed by Franz Xaver S?ssmayr in its traditional form.Mozart’s final work the Requiem K.626 was left incomplete and it is fraught with questions and emotions: the expressive depth of its music sorrow at the great composer’s early death truth and legend fragments and attempts to complete the work.The completion of the fragmentary score by his assistant Franz Xaver S?ssmayr who helped him with The Magic Flute has the character of a historical source with utmost closeness to Mozart’s thoughts.- Urtext of the New MozartEdition- Full score (BA4538-01) performance material (BA4538) vocal score (BA4538-90) and study score format 22.5 x 16.5cm (TP152) available for sale- Facsimile edition BVK2346

Lucio Silla K. 135Dramma per musica in three actsOn 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg. The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate K.87 (74a) for the 1770–71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started work on the opera in Bologna on 29 September 1770 and the première duly took place on the Feast of St. Stephen (26 December) in 1770. The second Lucio Silla (K. 135) again commissioned for the 1771–72 Carneval season inMilan doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received an invitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand the third son of Maria Theresia scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba K. 111.)- Urtext of the New Mozart Edition- Full score (BA4590-01) and vocal score (BA4590-90) available for sale- Performance material (BA4590-72) available for hire

The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.

The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.

The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.

Vocal Score Large Print-The story of the composition of Mozart's Requiem has a strange fabulous quality that is entirely typical of the events of his life. Whether we are considering his amazing exploits and achievements as a youthful virtuoso and maestro or the depth of his financial misfortunes in Vienna in the late 1780s there is little that is mundane about the main biographical facts.It comes as no surprise then to find that these facts have often been coloured and embroidered to enhance their emotional effect and to create a legend about this most remarkable musician. The simple story of the genesis of the Requiem is in itself striking - that in the last weeks of his lifeMozart was working on a Mass for the Dead that this work was the result of an anonymous commission and that the commissioner's envoy in order to avoid giving an address paid Mozart several unannounced visits like a messenger from another world - this story can easily be filled out with portents and hints of the supernatural.Even the account by Franz Niemetscheki (first published in 1798 based on information given by Mozart's widow Constanze and later receiving 'official' approval by being incorporated into the Mozart biography by Constanze's second husband Georg von Nissen) writes of the commissioner's agent appearing 'like a ghost' and Friedrich Rochlitz's account goes much further in suggesting that the composer was possessed by a demoniac and feverish desire to complete the Requiem and conscious of approaching doom

On the occasion of the marriage of her son Archduke Ferdinand of Austria to the Princess Maria Ricciarda Beatrice of Modena the Empress Maria Theresia commissioned the young Mozart to compose the work Serenata Teatrale “Ascanio in Alba”. The librettist the Viennese Abate Guiseppe Parini one of the most outstanding poets of the 18th century wrote a baroque-designed libretto which paid homage to and congratulated the royal couple.Mozart wrote the music in only a few weeks from the end of August until 23 September 1771. The first performance took place on 17 October 1771 in Milan to rousing success. Shortly thereafter LeopoldMozart wrote that his son's composition had so overpowered the main performance of Hasses opera “Il Ruggierio ” from the previous day that he could hardly describe it.- Urtext of the New Mozart Edition- Full score (BA4504-01) and vocal score (BA4504-90) available for sale- Performance material (BA4504-72) available for hire

Eleanor Steber was one of the greatest interpreters of Mozart ever to grace the opera stage. In this unique aria collection she has given intricate editings that convey her ideas about vocal style in Mozart. All of Miss Steber'seditings are printed in gray giving them clarity against the black of the music. A plot synopsis character analysis translation and musical coaching precedes each aria. Ample prefatory material discusses Mozartean performancepractices. This volume is a must for any soprano. Contents: Batti Batti ? Non mi dir ? Porgi amor ? Dove sono ? Deh vieni non tardar ? Non so più ? Voi che sapete ? Ach ichfühl's.

(Psalm 130)-Mozart’s De Profundis (Psalm 130) K.93 for SATB Choir with Organ or Piano accompaniment edited by Don Smithers. Composed in Salzburg in the summer of 1771 to the words of Psalm 130 a Penitential Psalm used in liturgical prayers for the faithful departed in Western liturgical tradition. Instruction in English Psalm in Latin. For intermediate (Grade 4-6) level.Wolfgang Amadeus Mozart was a prolific and influential composer of the Classical era. Born in Salzburg Mozart showed prodigious ability from his earliest childhood. Already competent on Keyboard and Violin hecomposed from the age of five and performed before European royalty. During his life he composed over 600 works many acknowledged as pinnacles of symphonic concertante chamber operatic and choral music. He is among the most enduringly popular of classical composers and his influence on subsequent Western art music is profound.

Opern-Arien-Four comprehensive anthologies of Mozarts opera arias. Includes Mozart’s complete vocal repertoire from the first opera to the final masterpieces plus historical notes and plot information. The song texts are in their original languages as well asItalian French and German.

Voici une des nombreuses partitions de Wolfgang Amadeus Mozart. Ce génie, mort à l'âge de 35 ans, a révolutionné la musique classique. Vous retrouverez à travers la partition CANON 'BONA NOX' tout le talent de Mozart. Cette partition a été composée pour Choeurs A 4 Voix Egales Et plus. C'est l'éditeur Billaudot qui a publiée cette oeuvre. / Choeurs A 4 Voix Egales Et plus / Partition

Voici une des nombreuses partitions de Wolfgang Amadeus Mozart. Ce génie, mort à l'âge de 35 ans, a révolutionné la musique classique. Vous retrouverez à travers la partition MON FAIBLE, C'EST LE VIN tout le talent de Mozart. Cette partition a été composée pour Choeurs A 3 Voix Egales. C'est l'éditeur Billaudot qui a publiée cette oeuvre. / Choeurs A 3 Voix Egales / Partition

This selection of relatively short sacred works by Wolfgang Amadeus Mozart gives active choruses an opportunity to perform these pieces without having to hire an expensive instrumental ensemble. The works including the moving ?Te Deum laudamus ? (K. 141) the brilliant ?Jubilate? from ? Benedictus sit Deus? (K. 117) and the immortal ?Ave verum? are well-suited to performance in church services or concerts. Andreas Köhs has sensitively arranged the orchestral parts for organ using the original score to produce self-contained versions for chorus and organ. The vocal parts follow the Urtext of the New Mozart Edition.Self-contained versions with organ instead oforchestraIdeal for church services and concertsStraightforward easy-to-play organ partThe Bärenreiter Choir & Organ Series presents great choral works in arrangements for soloists choir and organ; no orchestra is needed.The original orchestral parts have been transcribed into easy-to-play organ reductions whereby the contemporary tradition of such arrangements has been taken into consideration. In some cases the original organ versions by the composer were used. The organ parts are presented on three staves. The choir and solo parts always remain true to the original. You need only one edition for soloists singers and organist alike.

The choral scene is in a state of change! On the one hand more and more choirs are lacking in male voices yet at the same time more and more female choirs are looking for high-quality literature beyond folksong arrangements. Bärenreiter is responding to these general trends with the publication of arrangements for three-part female choir (SMA) of well-known frequently-performed works.The first editions to be published are Wolfgang Amadeus Mozart’s “Coronation Mass” K.317 (BA 5691) a much-performed work within the standard repertoire and the “Missa brevis in D major” K. 194 (BA 5690-90) a charmingalternative for use in church services. With great skill and sensitivity to the music Heribert Breuer has carefully retained the substance of the original works at the same time giving them a completely new sound quality.- Arrangements for female choir (SMA) based on the Urtext of the “New Mozart Edition”- Idiomatic Piano reductionsThe arranger Heribert Breuer was professor of choral conducting and music theory at the Berlin University of the Arts until 2010. He is founder and director of the Berlin Bach Akademie and has made a name for himself with his numerous arrangements of works from Bach to Schubert.

Voici une des nombreuses partitions de Wolfgang Amadeus Mozart. Ce génie, mort à l'âge de 35 ans, a révolutionné la musique classique. Vous retrouverez à travers la partition CARAVANE TURQUE tout le talent de Mozart. Cette partition a été composée pour Choeurs A 4 Voix D'Hommes. C'est l'éditeur Billaudot qui a publiée cette oeuvre. / Choeurs A 4 Voix D'Hommes / Partition