Wolfgang Amadeus Mozart: Fugue K401: Brass Ensemble: Score and Parts

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

Eighteen pieces edited and annotated by Richard Jones for the ABRSM. Includes the Fantasia In C Minor K.396.

C-Dur. Par MOZART WOLFGANG AMADEUS. 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. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

C-Dur. Par MOZART WOLFGANG AMADEUS. 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. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

C-Dur. Par MOZART WOLFGANG AMADEUS. 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. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

C-Dur. Par MOZART WOLFGANG AMADEUS. 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. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

This first publication of Michael Haydn's Timete Dominum is based on parts found in the monastery of St. Peter's in Saltzburg. It is virtually certain that this composition was first performed on All Saints Day (November 1st) 1777. This work formed the subject of an enthusiastic letter written to Wolfgang Amadeus Mozart by his father Leopold. He reported: 'The fugues...are worked out in a masterly fashion the themes being most natural and without any exaggerated modulations or too sudden transitions'.For SATB (in English and Latin) and organ accompaniment. Edited and with English translation by Reinhard G. Pauly.

revised editionCompositeur : Mozart, Wolfgang AmadeusInstrumentation : Piano soloEditeur Musicologique : Scheideler, UllrichCouverture ReliéeContenu : Adagio for Glass Harmonica C major K. 356 (617a)Adagio b minor K. 540Andante for a Musical Clock F major K. 616Andantino E flat major K. 236 (588b)6 German Dances K. 509Fantasies c, d K. 396 (385f), 397 (385g)Fugue for an organ g minor K. 401 (375e)Fuges G, D K. Anh. A 61/62 (154a)Gigue G major K. 574Piano Piece F major K. 33 BKontretanz D Das Donnerwetter K. 534Kontretänze K. deest (269b)London sketchbook K. 15a-qqFuneral March c minor K. 453aMarch C major K. 408/1 (383e)Minuet D major K. 355 (576b)Minuets C, D C major K. 61g II, 94 (73h)8 Minuets K. 315a (315g)12 Minuets K. 103 (61d)Modulierendes Präludium K. deestMozarts pieces from the Nannerl Notenbuch K. 1a–f, 2–5, 9a (5a),6–8Prelude (Fantasy) and Fugue C major K. 394 (383a)Präludium C major K. 284a (395/300g)Rondos D, a K. 485, 511Sonata movements g, B flat B flat major K. 312 (590d), 400 (372a)Suite C major K. 399 (385i)Appendix: 2 Piano pieces B flat, E flat K. Anh. 20 a (626b/25)Ballettmusic from Ascanio in Alba K. 111Sonata [allegro and allegretto] F major K. Anh. 135 (547a)Fragment from the Nannerl Music Book K. 9b (5b)Fragments from the London Sketchbook K. 15 nn, rr, ssFragment (Sarabande) from the Suite K. 399 (385i)

World Piano Music Book 1: 14 pieces of medium difficulty for Piano solo.The album World Piano Music I includes representative samples of Piano literature from various style periods. The selection of recital compositions by important world composers (Bach Mozart Beethoven Schubert Schumann Brahms Mendelssohn-Bartholdy Chopin Liszt Cajkovskij Rachmaninov Grieg and Debussy) chronologically dated by year of origin offers a wide spectrum of forms and genres.Contents:Prelude in C major [Bach Johann Sebastian]Fantasia in D minor [Mozart Wolfgang Amadeus]For Elise [Beethoven Ludwig van]Moment musical[Schubert Franz]Draming [Schumann Robert]Waltz No.2 [Brahms Johannes]Waltz No.15 [Brahms Johannes]Spring Song [Mendelssohn-Bartholdy Felix]Waltz op. 34 No.2 [Chopin Fryderyk]Consolation No.2. [Liszt Ferenc]Romance [Cajkovskij Petr Iljic]Prelude in C sharp minor [Rachmaninov Sergej Vasiljevic]To the Spring [Grieg Edvard]Clair de lune [Debussy Claude]