Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a) it is designated in Leopold Mozart?s handwriting as a Missa longa on the cover page of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation ?Missa longa? was intended to point out that this was an extensive full-scale mass. Normally it would have been called a Missa solemnis but Mozart for unknown reasons did not make use of this customary nomenclature.The name ?Credo Mass? is taken from the acclamations of ?Credo? that constantly interrupt thelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almost symphonic proportions. Urtext of the ?New Mozart Edition? Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4859) and vocal score (BA4859-90) for saleArrangement for soloists choir & organ (BA7520) for sale

Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloists (AB) Chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo BA 4263 I will magnify thee HWV 250b for Soloists (SATB) Chorus (SATB) Oboe Strings Continuo BA 4264As Pants The Hart HWV 251e for Soloists (SAATBB) Chorus (SAATB) 2 Oboes Strings Continuo BA 4265Let God arise HWV 256b for Soloists (AB) Chorus (SATB) Oboe Strings Continuo BA 4266Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As Pants The Hart? his fifth setting of this Psalm text was writtenin March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket.Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the Organ. These four works with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems are presented in clearly laid out vocal scores with straightforward Piano reductions based on the Urtext from the Halle Handel Edition. Their enticingly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and equally festive solo numbers. Today they sound as splendid as ever!The full scores and vocal scores also contain a German translation along with the original English text.

Tonalité : E-Moll - Op.: 87 -. Par HERZOGENBERG HEINRICH VON. The musically convincing and, in many respects, original setting of the liturgical text in Herzogenberg’s Mass represents a final culmination in the late romantic repertoire of the genre Missa solemnis. The full score, which is published here for the first time, makes this most inspiring work by Herzogenberg accessible for performance./ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Tonalité : Es-Dur - Horn, Paul (Arr.) - Kv 243. Par MOZART WOLFGANG AMADEUS. Gattungen: Litaneien - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Eucharistie, Abendmahl, Marienfeste, Marianische Gesänge - Verwendung / Kirchenjahr: Fronleic cor am - Langue : Latin/ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Tonalité : Es-Dur - Horn, Paul (Arr.) - Kv 243. Par MOZART WOLFGANG AMADEUS. Gattungen: Litaneien - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Eucharistie, Abendmahl, Marienfeste, Marianische Gesänge - Verwendung / Kirchenjahr: Fronleic cor am - Langue : Latin/ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Tonalité : Es-Dur - Horn, Paul (Arr.) - Kv 243. Par MOZART WOLFGANG AMADEUS. Gattungen: Litaneien - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Eucharistie, Abendmahl, Marienfeste, Marianische Gesänge - Verwendung / Kirchenjahr: Fronleic cor am - Langue : Latin / Hymnes et chorals / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Tonalité : Es-Dur - Horn, Paul (Arr.) - Kv 243. Par MOZART WOLFGANG AMADEUS. Gattungen: Litaneien - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Eucharistie, Abendmahl, Marienfeste, Marianische Gesänge - Verwendung / Kirchenjahr: Fronleic cor am - Langue : Latin/ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Tonalité : Es-Dur - Horn, Paul (Arr.) - Kv 243. Par MOZART WOLFGANG AMADEUS. Gattungen: Litaneien - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Eucharistie, Abendmahl, Marienfeste, Marianische Gesänge - Verwendung / Kirchenjahr: Fronleic cor am - Langue : Latin / Hymnes et chorals / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Tonalité : Es-Dur - Horn, Paul (Arr.) - Kv 243. Par MOZART WOLFGANG AMADEUS. Gattungen: Litaneien - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Eucharistie, Abendmahl, Marienfeste, Marianische Gesänge - Verwendung / Kirchenjahr: Fronleic cor am - Langue : Latin / Hymnes et chorals / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Tonalité : Es-Dur - Horn, Paul (Arr.) - Kv 243. Par MOZART WOLFGANG AMADEUS. Gattungen: Litaneien - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Eucharistie, Abendmahl, Marienfeste, Marianische Gesänge - Verwendung / Kirchenjahr: Fronleic cor am - Langue : Latin/ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Tonalité : Es-Dur - Horn, Paul (Arr.) - Kv 243. Par MOZART WOLFGANG AMADEUS. Gattungen: Litaneien - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Eucharistie, Abendmahl, Marienfeste, Marianische Gesänge - Verwendung / Kirchenjahr: Fronleic cor am - Langue : Latin/ Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,