Wolfgang Amadeus Mozart: Beginning Mozart For Piano: Piano: Instrumental Album

Eine Kleine Nachtmusik the Serenade in G K.525 by Wolfgang Amadeus Mozart is presented here in an easy piano arrangment. About as popular and frequently performed as any piece of chamber music it is a must-have for the beginning piano player.

Hoffmeister Quartet and Prussian Quartets-Over the next few years all 26 of Wolfgang Amadeus Mozart's String Quartets will be published by Henle in an Urtext Edition of both score and parts. All previous editions have left much to be desired for example asconcerns the correct placement of dynamic markings.Henle's edition made with the artistic collaboration of the Armida Quartet draws upon the large body of modern knowledge concerning Mozart philology andperformance practice. We begin with what are chronologically speaking the final four quartets: the so-called 'Hoffmeister' Quartet K. 499 and the three 'Prussian' Quartets K. 575 589 and590.

Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Full Score) This publication offers a source-critical edition of Mozart’s fragmentary “Requiem” as well as an alternative to the traditional Süssmayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozart’s idiom taking into account historical additions by Süssmayr and Eybler. When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozart’s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the “Requiem” fragment, is taken into account in those sections requiring completion or fresh composition. At two points readers may choose between alternative movements (or sections), since proceeding from Süssmayr’s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozart’s intentions: the “Lacrimosa” may end with or without “Amen” fugue, and the “Sanctus” may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major “Hosanna” from Süssmayr’s autograph, a movement which, until now, has not been appreciated as compositionally flawless. - Scholarly-critical edition of the “Requiem” fragment - With performance material for presentation of 1) the fragment, 2) a version with completions of the authentic Mozart sections or 3) a full completion consistent with Mozart’s musical idiom - Missing sections were completed by drawing from other fragmentary sacred works by Mozart - Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment - Alternative performance options for the “Lacrimosa”, “Sanctus” and “Benedictus” - Straight-forward piano reduction - Extensive foreword (Ger/Eng) on the work’s history, reception and modern completions, with analytical stylistic critique - Detailed Critical Commentary (Eng), partly available on the Bärenreiter website - Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (“Le Disque classique du jour” from francemusique.fr and three nominations for Opus Klassik 2021 in the categories “Ensemble”, “Choral Recording” and “Editorial Achievement”) - Full Score (BA11310), Vocal Score (BA11310-90) and performance material (BA11310) available for sale / Date parution : 2022-07-20/ Répertoire / Chœur Mixte SATB et Orchestre

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarines

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarines