SKU: CA.5165203
ISBN 9790007294243. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozartâ??s Requiem. â??Another one?â? you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃ?mayr version. Yet such is the enormous power of Mozartâ??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâ??s additions to Mozartâ??s great original show the requisite care and respect while incorporating many new insights.Armanâ??s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâ??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ??s unique sound is given an opportunity to shine. Armanâ??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â?? in the spirit of Mozart â?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâ??s fragment ends with the Hostias, and so does Armanâ??s completion. For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to SüÃ?mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.Armanâ??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â?? and celebrated as offering a scholarly, entirely fresh perspective on Mozartâ??s masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
SKU: BA.BA04590-01
ISBN 9790006451296. 33 x 26 cm inches. Text Language: Italian. Text: Giovanni de Gamerra.
On 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 premiere 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 in Milan, 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.)
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BA.BA04609-01
ISBN 9790006451975. 33.2 x 25.8 cm inches. Key: E-flat major.
This separately published Critical Commentary offers extensive information on the genesis, reception, sources, and readings of the works included in the music volume.
SKU: BA.BA04516-01
ISBN 9790006449521. 33 x 25.8 cm inches. Text Language: Latin. Text: P Rufinus Widl.
SKU: BA.BA04577-01
ISBN 9790006451036. 33.2 x 26 cm inches. Text Language: Italian. Pietro Metastasio.
SKU: CA.5162646
Key: D minor. Text language: Latin.
The history of the genesis of the Requiem is entwined with legends and anecdotes. The burdens of the composition and performance of La Clemenza di Tito and Die Zauberflote, and an acute infection led to the collapse and death of the composer following a short illness. Mozart left his wife in considerable debt. Constanze therefore turned to Mozart's friends, asking them to complete the fragment. After two failed attempts, the task passed to Mozart's pupil Franz Xaver Sussmayr, who completed the Requiem in the form known today, using working materials that are no longer extant, and perhaps verbal instructions from the composer. Today the Sussmayr version is still the most well known, and it is doubtless the one with the closest historical ties to Mozart. This work is now available in carus music, the choir app! Score available separately - see item CA.5162600.
SKU: CA.5162647
SKU: CA.5162645
ISBN 9790007171858. Key: D minor. Text language: Latin.
SKU: CA.5162648
SKU: CA.5162609
ISBN 9790007225216. Key: D minor. Language: Latin.
The history of the genesis of the Requiem is entwined with legends and anecdotes. The burdens of the composition and performance of La Clemenza di Tito and Die Zauberflote, and an acute infection led to the collapse and death of the composer following a short illness. Mozart left his wife in considerable debt. Constanze therefore turned to Mozart's friends, asking them to complete the fragment. After two failed attempts, the task passed to Mozart's pupil Franz Xaver Sussmayr, who completed the Requiem in the form known today, using working materials that are no longer extant, and perhaps verbal instructions from the composer. Today the Sussmayr version is still the most well known, and it is doubtless the one with the closest historical ties to Mozart. This work is now available in carus music, the choir app! Score and parts available separately - see item CA.5162600.
SKU: CA.5162605
ISBN 9790007113100. Key: D minor. Language: Latin.
SKU: CA.5162604
ISBN 9790007171445. Key: D minor. Text language: Latin. Piano reduction: Paul Horn.
SKU: BA.BA04599-41
ISBN 9790006496310. 24.4 x 17.3 cm inches. Language: Italian. Pietro Metastasio.
SKU: CA.4062313
ISBN 9790007084400. Key: G major. Language: Latin.
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. This work is now available in carus music, the choir app! Score and part available separately - see item CA.4062300.
SKU: CA.4062519
ISBN 9790007138097. Key: D major. Language: Latin.
During the summer of 1774 Mozart wrote two Masses within a few weeks: the Missa brevis in F major, K. 192, and the Missa brevis in D major, K. 194. A feature common to both compositions as well as to the Dixit et Magnificat K. 193, written at about the same time, and the Trinitias Mass K. 167 of the previous year, is a more or less strongly evident tendency towards contrapuntal writing. However, while the Dixit et Magnificat and the Trinitas Mass approach the late-baroque style, in these two brevis Masses Mozart sought to combine traditional polyphonic techniques with a more modern musical language. This work is now available in carus music, the choir app! Score and parts available separately - see item CA.4062500.
SKU: CA.4062309
ISBN 9790007084370. Key: G major. Language: Latin.
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. This work is now available in carus music, the choir app! Score and parts available separately - see item CA.4062300.
SKU: CA.4062312
ISBN 9790007084394. Key: G major. Language: Latin.
SKU: CA.4062349
ISBN 9790007084417. Key: G major. Language: Latin.
SKU: CA.4062311
ISBN 9790007084387. Key: G major. Language: Latin.
SKU: CA.4062305
ISBN 9790007084363. Key: G major. Language: Latin.
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. This work is now available in carus music, the choir app! Score available separately - see item CA.4062300.
SKU: CA.5126209
ISBN 9790007224660. Key: C major. Language: Latin.
Leopold Mozart described KV 262, unlike Mozart's considerably shorter masses of the same period, as a Missa longa. The prolixity of some of the movements and of concluding fugues in the Gloria and Credo is indeed surprising. The full orchestral scoring also emphasizes the ceremonial character of this Mass. Score and parts available separately - see item CA.5126200.
SKU: CA.5126213
ISBN 9790007224691. Key: C major. Language: Latin.
Leopold Mozart described KV 262, unlike Mozart's considerably shorter masses of the same period, as a Missa longa. The prolixity of some of the movements and of concluding fugues in the Gloria and Credo is indeed surprising. The full orchestral scoring also emphasizes the ceremonial character of this Mass. Score and part available separately - see item CA.5126200.
SKU: CA.4062919
ISBN 9790007138103. Key: B flat major. Language: Latin.
To a greater extent than almost any others, Mozart's Masses combine a very high degree of artistic accomplishment and tonal beauty with fulfilment of the demands made by the Liturgy. Even the textually expansive movements Gloria and Credo are, in most of Mozart's Masses, short enough to meet the requirements of a festive service, today as in his time. The choral parts are not too difficult for well-trained amateur singers. Score and parts available separately - see item CA.4062900.