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.

Passionskantate. Par MOZART WOLFGANG AMADEUS. The Carus critical new edition is the very first edition of the Grabmusik which is based on Mozart’s separate autographs for movements 1–6, and 7–8, respectively. The fact that the final movement also contains two horn parts which have never appeared in print is an absolutely sensational discovery. Now the work may be again performed using Mozart’s last, original instrumentation./ Répertoire / Solistes SB, Choeur SATB, 2 Hautbois, 2 Cors, 2 Vi

(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.

Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin andthe organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. / Mottet / Répertoire / Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,

Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, erroneously dubbed the “Coronation Mass, ” is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakó w. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass [by Fügerl], since such later copies often help toclarify questions concerning historical performance practice. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin andthe organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. / Mottet / Répertoire / Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,

Solomotette Zum Dreifaltigkeitsfest Oder Zu Weihnachten. Par MOZART WOLFGANG AMADEUS. A good six years following its first performance in Milan [1773] a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This “Salzburg version, ” which was discovered in 1978, differs from the “Milan version” primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart’s autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the BibliotekaJagiellónska in Kraków for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. / Hymnes et chorals / Répertoire / Solo S, 2 Hautbois ou 2 Flûtes Traversières, 2 Cor

Marienantiphon. Par MOZART WOLFGANG AMADEUS. Wolfgang Amadeus Mozarts 'Regina coeli' ist die erste seiner drei Vertonungen der marianischen Antiphon für die Vesper in der Osterzeit. / Hymnes et chorals / Répertoire / Solo S, Choeur SATB, 2 Flûtes Traversières, 2 Haut

Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, erroneously dubbed the “Coronation Mass, ” is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakó w. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass [by Fügerl], since such later copies often help toclarify questions concerning historical performance practice. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin andthe organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. / Mottet / Répertoire / Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,

Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, erroneously dubbed the “Coronation Mass, ” is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakó w. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass [by Fügerl], since such later copies often help toclarify questions concerning historical performance practice. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Krönungsmesse. Par MOZART WOLFGANG AMADEUS. Mozart’s Missa in C K. 317, erroneously dubbed the “Coronation Mass, ” is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakó w. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass [by Fügerl], since such later copies often help toclarify questions concerning historical performance practice. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Marienantiphon. Par MOZART WOLFGANG AMADEUS. Wolfgang Amadeus Mozarts 'Regina coeli' ist die erste seiner drei Vertonungen der marianischen Antiphon für die Vesper in der Osterzeit. / Hymnes et chorals / Répertoire / Solo S, Choeur SATB, 2 Flûtes Traversières, 2 Haut

Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin andthe organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. / Mottet / Répertoire / Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,

Marienantiphon. Par MOZART WOLFGANG AMADEUS. Wolfgang Amadeus Mozarts 'Regina coeli' ist die erste seiner drei Vertonungen der marianischen Antiphon für die Vesper in der Osterzeit. / Hymnes et chorals / Répertoire / Solo S, Choeur SATB, 2 Flûtes Traversières, 2 Haut