SKU: BP.HB527C

UPC: 748769375273.

Full score for the handbell and handchime version. Jane McFadden brings us this dignified and stately arrangement of the chorale tune Wachet Auf. With organ and handbells playing off one another, it is a wonderful exercise in contrast, balance, and musicality. In the absence of organ, a separate part for handchime choir is available.

SKU: BP.HB527

UPC: 748769305270.

Arranged for 3-5 octave handbell choir and organ or with optional 3 octaves of handchimes. Level 3. WACHET AUF by Phillip Nicolai. Jane McFadden brings us this dignified and stately arrangement of the chorale tune Wachet Auf. With organ and handbells playing off one another, it is a wonderful exercise in contrast, balance, and musicality. In the absence of organ, a separate part for handchime choir is available.

SKU: HP.2063

UPC: 763628120634.

Piece from Water Music by G.F. Handel G. F. Handel's masterpiece resounds in this setting for bells and organ or brass. Full chordal ringing with various techniques call for precision throughout the work. A more flowing section for bells only occurs highlighted by thumb damps in upper and lower registers. Brass ensemble consists of 2 trumpets, French Horn, Trombone, Tuba and Timpani. Set in the keys of D Major and b minor, this work is 76 measures without repeats.

SKU: HP.1909

UPC: 763628019099. Genesis 8:22, Lamentations 3:22-24, 1 Samuel 15:29, Hebrews 7:21, Isaiah 49:7, James 1:17, Jeremiah 29:11, Malachi 3:6, Psalms 33:4, Psalms 110:4, Psalms 111:7, Psalms 145:13, Psalms 146:6.

Immensely popular hymn One of the great hymns of the church has been set here by arrangers, Janet Linker and Jane McFadden for 3-5 octaves for bells and organ. Thomas O. Chisholm and William M. Runyan wrote Great Is Thy Faithfulness in the early 1920's and it has been a classic ever since.

SKU: BP.HB226

Arranged for 3-5 octave handbell choir and optional 3 octaves of handchimes. Level 3. LOBE DEN HERREN.

SKU: BP.HB95

Arranged for 3-5 octave handbell choir and organ. Level 2. ST. GEORGE'S WINDSOR.

SKU: BR.OB-5562-15

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 20 pages. Duration 52'. Breitkopf and Haertel #OB 5562-15. Published by Breitkopf and Haertel (BR.OB-5562-15).

ISBN 9790004342282. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

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).