Offertorium de Beata Maria Virgine-In the 17th and 18th centuries Salzburg where Leopold Mozart was Assistant Court Music Director was a center for polyphonic Offertory settings and multimovement offertory concerti which developed into a main genre of Catholic liturgical music in the south German region.The Salzburg Cathedral seems an obvious choice which the 'solemn' orchestration with trumpets and timpani would support.

Edited by W.T. Best this vocal score of Mozart's famous final work contains Latin text.

The Magic Flute K. 620 is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel a popular form that included both singing and spoken dialogue. Arranged for Piano and Voice.

The concert rounds of Mozart are delightfully captivating. This new secular text complements the simple-to-learn melody making a great concert opener for any age level.

Four-part arrangement of 'Gloria In Excelsis' attributed to Mozart with piano accompaniment.

Vocal Score Large Print-Edited by W.T. Best this large format vocal score of Mozart's famous final work contains Latin text.

This jewel of a composition provides a delightful example of Mozart's style. Accessible to most choirs it can be sung in Latin or in English. This new edition of the vocal score enhances readability.

Par HASSE JOHANN ADOLF / MOZART WOLFGANG AMADEUS. Gattungen: Psalmen, lateinisch - Verwendung / Kirchenjahr: Fastenzeit und Passion, Jahreswende, Karwoche - / Psaumes / Répertoire / Choeur Mixte

Par MOZART WOLFGANG AMADEUS. Klavierauszug Xl Im Lesefreundlichen Großdruck/ Répertoire / Chœur Mixte et Piano

Libretto-'Die Entfuhrung aus dem Serail' (Abduction from the Seraglio) was Mozart's first important success. The libretto by Johann Gottlieb Stephanie features another popular topic in later eighteenth-century drama - the rescue of anabducted heroine. In this instance she is a lady of noble Spanish birth who has been captured by Barbary pirates and sold into the captivity of the Pasha Selim who has fallen in love with her. In the end she is rescued by herbeloved Belmonte with the assistance of his servant Pedrillo. This edition of the libretto is in the orginal German with an English translation.

Par . Until now, anyone looking for music on the theme of Pentecost and the Holy Spirit for church services and concerts usually had to do so in larger collections that cover the entire church year or parts of it. With Music for the Spirit, there is now a choirbook specifically for the feast of Pentecost for the first time, closing a gap for an important feast of the Catholic, Protestant, and Anglican churches. Over 500 years of choral music from Renaissance to the modern age are covered here with compositions from the German-, English-, Italian- and French-speaking regions. Almost all the great composers of European sacred music are represented, from Palestrina over Byrd, Bach, Mozart, Brahms, Gounod, and Bruckner to Reger, Parry, Stanford, and Distler. With the chronological order, the development of the genre of the Pentecost motet and sacred choral music in general can be traced easily. All pieces can be performed by mixed choir a cappella or with organ accompaniment. In some cases, the accompaniment has been supplemented or arranged by the editor Stephen Harrap, in individual cases also the choral parts, e.g. when the original was composed for male voices only. The scoring ranges from three to eight voices while the length and difficulty of the pieces likewise cover a broad range for a wide variety of choirs and ensembles. / Date parution : 2023-10-31/ Répertoire / Choeur Mixte et Orgue

A new engraving of Thomas Attwood's delightful miniature, Come Holy Ghost , this piece is suitable for Whitsundtide or for general use. Thomas Attwood (1765-1838) is perhaps best known as the composer of such charming miniatures as Come, Holy Ghost , which is in essence a simple, threeverse hymn. Its elegant melody, first sung by soprano, then by a chorus (or quartet and chorus) is reminiscent of Mozart's delicate masterpiece, Ave verum corpus . This is perhaps unsurprising -Attwood took composition lessons from Mozart in Vienna, and one of his contemporaries quotes Mozart as saying: 'He partakes more of my style than any scholar I ever had - and I predict, that he will prove a sound musician.' Attwood worked closely with the royal family throughout his life. He taught music to the Prince of Wales, was appointed composer and eventually organist to the Chapel Royal, and organist at St Paul's Cathedral (he is buried under the organ there). He wrote the anthem I was glad for the coronation of King George IV. / Choeur Mixte (SATB) Et Orgue

When music-lover Carl Zulehner from Mainz delivered the manuscript of this ?Mozart? mass to the publishers it was accepted published and was performed. It was later popular in the Victorian era particularly in England. However when Zulehner was challenged about its authenticity he did not come forward with Mozart?s own manuscript. It is possible that Zulehner forged the work himself.Scholars also suggest attribution to Wenzel Müller a Viennese composer of light opera. However many works have been wrongly attributed to Mozart for many reasons. This particular one enjoyed a great following and the Gloria movement is still performed frequently and to greateffect particularly by amateur choirs.

Par HOFMANN LEOPOLD. 'Man that is born of woman hath but a short time to live' is one of the central biblical texts dealing with the transitoriness of human existence. Leopold Hofmann, Kapellmeister at St. Stephen's Cathedral in Vienna from 1772 to 1793, where W. A. Mozart was his church music assistant, also set this strongly expressive text. Hofmann's setting, in C minor, offers an austere harmony, characterized by suspensions in a homophonic, through-composed four-part vocal setting (soloists or SATB choir), reinforced only by two trombones and organ continuo. Four concise instrumental transitional passages between the individual verses relieve the pathos laden Viennese church style of this composition. With its tragic air, in some passages it closely resembles Mozart's Requiem K. 626. For this first edition, the two trombone parts are available both in the original clef and in alto clef. The figured bass has been realized so that the piece can also be performed without trombones, with only organ accompaniment. For a performance this piece could easily be combined with the Salve Regina by Pietro Cassati (Carus 27.703) from the Vienna series./ Répertoire / Choeur Mixte (SATB) et Orchestre