| Contest Solos For The Young Mallet Player Percussion - Beginner Kendor Music Inc.
By Murray Houllif. For Mallet Solo (Unaccompanied). Mallet Solo. Level: Grade 1-...(+)
By Murray Houllif. For Mallet Solo (Unaccompanied). Mallet Solo. Level: Grade 1-2. Published by Kendor Music Inc.
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| Thumb Position For Cello Book 2 thumbs Of Steel
Cello [Sheet music] - Easy Alfred Publishing
Thumbs of Steel. Composed by Rick Mooney. String - (Suzuki) Supplementary; Suzuk...(+)
Thumbs of Steel. Composed by Rick Mooney. String - (Suzuki) Supplementary; Suzuki. Book. 80 pages. Alfred Music #00-0764. Published by Alfred Music
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| 3e Symphonie en ut mineur, op. 78 - Advanced Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5 SKU: BA.BA10303-01 Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01). ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann. The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.
I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.
You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...
No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.
On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:
Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.
As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.
It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.
When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.
In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$566.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Quartet Sant Petersburg String Quartet: 2 violins, viola, cello Editorial de Musica Boileau
String quartet SKU: BO.B.3664 Composed by Jordi Cervello. Published by Ed...(+)
String quartet SKU: BO.B.3664 Composed by Jordi Cervello. Published by Editorial de Musica Boileau (BO.B.3664). Cuarteto San Petersburgo (The Saint Petersburg Quartet) was written between January and March 2011. It owes its name to the fact that Saint Petersburg has been a very significant city for me. I was invited there in 1988 to take part in a big contemporary music festival, but my uninterrupted bond with the city started on 2002, thanks to the negotiations of my friend and pupil Albert Barbeta. Since then, I have constantly travelled there in order to record a considerable part of my repertoire: seventeen pieces. In addition to the concerts we went to, I took the opportunity during my trips to visit the well-known conservatoire where so many great personalities from the world of music composition once taught, and the place that launched the most important violin school in the whole of Russia: the school of Leopoldo Auer. Spending a long time in Auer's classroom writing my concert for violin and orchestra was an unforgettable experience for me. His large portrait motivated me even further.
Cuarteto San Petersburgo evokes many of the most cherished and moving moments that I have had in this city. It is structured in four movements. The first one, Allegretto-Allegro, opens with an introduction that sets forth the two main themes, amid a soft and elastic atmosphere. The Allegro starts vigorously and in it we find changes in the tempo and moments of mystery, as well as certain seclusion, returning then to the emphatic theme where the counterpoint finds its place. The movement ends placidly.
The Scherzo-marcato that follows is marked by a persistent rhythm of triplets that carries on from beginning to end. The tempo does not change, but brief and decided themes are introduced, as well as passages of counterpoint. Brief and dissonant chords are heard throughout the movement, which ends vigorously.
The third movement, Ut, is a very special one. For a while already I had been playing with the idea of writing a movement that was to have the tonality C as a leitmotiv. This one is made up by two slow and static parts. In the first one, the first violin plays pizzicatti-glissandi. In the second, the first violin and particularly the violoncello settle on C while the other two instruments produce descending chromatic harmonies.
Finally, the Introduccion-Presto (the Introduction-Presto). It starts with some bucolic passages which remind us of the introduction to the first movement. A fast and energetic Presto suddenly erupts. A kind of moto perpetuo which alternates with two expressive passages and, towards the end, a viola and violoncello tremolo, all of great mystery and expectation, make way for a resounding finale marcato. $38.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Piano Lessons, Level 3
Piano solo [Sheet music] - Easy Kjos Music Company
By James Bastien. For piano. Bastien Piano. Bastien Piano Library. Level: Level ...(+)
By James Bastien. For piano. Bastien Piano. Bastien Piano Library. Level: Level 3. Music Book. Published by Neil A. Kjos Music Company.
$6.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fun With the Harmonica Harmonica [Sheet music] - Easy Mel Bay
by William Bay. For diatonic harmonica. Fun With. All styles, solos. Level: Begi...(+)
by William Bay. For diatonic harmonica. Fun With. All styles, solos. Level: Beginning. Book. Method. Size 8.75x11.75. 32 pages. Published by Mel Bay Pub., Inc.
$6.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Violin Duet Collections - Selected Duets For Violins Vol2 Advanced First Position 2 Violins (duet) Hal Leonard | | |
| Collected Works for Guitar Vol. 10 Vol. 10 Guitar Music Distribution Services
Guitar - intermediate to advanced SKU: M7.GHE-810 16 Guitar Solos with...(+)
Guitar - intermediate to advanced SKU: M7.GHE-810 16 Guitar Solos without Opus Numbers. Composed by Fernando Sor. Edited by Erik Stenstadvold. This edition: Saddle-wire stitching. Sheet music. New Critical Edition. 48 pages. MDS (Music Distribution Services) #GHE 810. Published by MDS (Music Distribution Services) (M7.GHE-810). ISBN 9783890448107. English. This new critical edition by leading guitar researcher Erik Stenstadvold contains thematic indexes, comprehensive critical commentaries based on sound and transparent editorial practice, copious historical notes, publishing history, and some previously unpublished repertoire. It has been thoroughly researched and is produced to the highest standards. $23.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Schweizer Musikalbum 2 2 Accordion Holzschuh Musikverlag
Diatonic single-action accordion SKU: M7.VHR-523-01 Arranged by Alfons Ho...(+)
Diatonic single-action accordion SKU: M7.VHR-523-01 Arranged by Alfons Holzschuh and Curt Herold. Sheet music. 8 pages. Holzschuh Musikverlag #VHR 523-01. Published by Holzschuh Musikverlag (M7.VHR-523-01). ISBN 9790201324722. The most famous and best liked Ländler, waltzes and marches in easy arrangements by A. Holzschuh, C. Herold and E. Wild. Those editions can be played together with diatonic and chromatic instruments. $17.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Schweizer Musikalbum 1 1 Accordion Holzschuh Musikverlag
Accordion SKU: M7.VHR-522 Arranged by Alfons Holzschuh and Curt Herold. S...(+)
Accordion SKU: M7.VHR-522 Arranged by Alfons Holzschuh and Curt Herold. Sheet music. 12 pages. Holzschuh Musikverlag #VHR 522. Published by Holzschuh Musikverlag (M7.VHR-522). ISBN 9790201324692. The most famous and best liked Ländler, waltzes and marches in easy arrangements by A. Holzschuh, C. Herold and E. Wild. Those editions can be played together with diatonic and chromatic instruments. $16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Schweizer Musikalbum 3 3 Accordion Holzschuh Musikverlag
Accordion SKU: M7.VHR-524 Arranged by Alfons Holzschuh and Curt Herold. S...(+)
Accordion SKU: M7.VHR-524 Arranged by Alfons Holzschuh and Curt Herold. Sheet music. 12 pages. Holzschuh Musikverlag #VHR 524. Published by Holzschuh Musikverlag (M7.VHR-524). ISBN 9790201324739. The most famous and best liked Ländler, waltzes and marches in easy arrangements by A. Holzschuh, C. Herold and E. Wild. Those editions can be played together with diatonic and chromatic instruments. $16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Premier Piano Course: Performance Book 3 Piano solo [Sheet music + CD] Alfred Publishing
By Gayle Kowalchyk, Dennis Alexander, E. L. Lancaster. For Piano. Piano - Alfred...(+)
By Gayle Kowalchyk, Dennis Alexander, E. L. Lancaster. For Piano. Piano - Alfred's Premier Piano Course. Premier Piano Course. Book and CD. 32 pages. Published by Alfred Publishing.
$11.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Schweizer Musikalbum 4 4 Accordion Holzschuh Musikverlag
Accordion SKU: M7.VHR-525 Arranged by Alfons Holzschuh and Curt Herold. S...(+)
Accordion SKU: M7.VHR-525 Arranged by Alfons Holzschuh and Curt Herold. Sheet music. 12 pages. Holzschuh Musikverlag #VHR 525. Published by Holzschuh Musikverlag (M7.VHR-525). ISBN 9790201324753. The most famous and best liked Ländler, waltzes and marches in easy arrangements by A. Holzschuh, C. Herold and E. Wild. Those editions can be played together with diatonic and chromatic instruments. $16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Schweizer Musikalbum 1 1 Accordion Holzschuh Musikverlag
Diatonic single-action accordion SKU: M7.VHR-522-01 Composed by Alfons Ho...(+)
Diatonic single-action accordion SKU: M7.VHR-522-01 Composed by Alfons Holzschuh. Sheet music. 8 pages. Holzschuh Musikverlag #VHR 522-01. Published by Holzschuh Musikverlag (M7.VHR-522-01). ISBN 9790201324708. The most famous and best liked Ländler, waltzes and marches in easy arrangements by A. Holzschuh, C. Herold and E. Wild. Those editions can be played together with diatonic and chromatic instruments. $16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Guitar Melody Chord Playing System Guitar notes and tablatures [Key & Note References] - Intermediate Mel Bay
By Mel Bay. For Guitar (All). Chord book. Jazz. Level: Intermediate-Advanced. Bo...(+)
By Mel Bay. For Guitar (All). Chord book. Jazz. Level: Intermediate-Advanced. Book. Size 8.5x11. 96 pages. Published by Mel Bay Publications, Inc.
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| Bach: His Greatest Piano Solos Piano solo Music Sales
By Alexandra Shealy (Editor). For Piano. Classical. 192 pages. Published by Musi...(+)
By Alexandra Shealy (Editor). For Piano. Classical. 192 pages. Published by Music Sales.
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| March Chromatica Concert band [Score and Parts] - Beginner Alfred Publishing
By Mark Williams. For Concert Band. Concert Band. Challenger Band Series. Conduc...(+)
By Mark Williams. For Concert Band. Concert Band. Challenger Band Series. Conductor Score & Parts. 58 pages. Published by Alfred Publishing. Level: 1.5 (Easy) (grade 1.5).
$49.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Missa solemnis in C K. 337 Breitkopf & Härtel
Violin 2 (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(wit...(+)
Violin 2 (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va)) SKU: BR.OB-5329-16 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Orchester-Bibliothek (Orchestral Library). Mass; Classical. Part. Composed 1780. 12 pages. Duration 20'. Breitkopf and Haertel #OB 5329-16. Published by Breitkopf and Haertel (BR.OB-5329-16). ISBN 9790004333549. 10 x 12.5 inches. According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna, dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998. $7.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Oh, Freedom Choral SATB SATB divisi, A Cappella Galaxy Music Corporation
Composed by Pasquale Tassone. Spirituals. 21st Century, Justice/Peace/Social ...(+)
Composed by Pasquale Tassone.
Spirituals. 21st Century,
Justice/Peace/Social
Concerns. Duration 3 minutes,
15 seconds. Galaxy Music
Corporation #7.0732.
Published by Galaxy Music
Corporation
$2.25 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Missa solemnis in C K. 337 Breitkopf & Härtel
(solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))...(+)
(solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va)) SKU: BR.CHB-5289-02 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Chor-Bibliothek (Choral Library). Mass; Classical. Choral score. Composed 1780. 44 pages. Duration 20'. Breitkopf and Haertel #ChB 5289-02. Published by Breitkopf and Haertel (BR.CHB-5289-02). ISBN 9790004412046. 7.5 x 10.5 inches. According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna, dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Missa solemnis in C K. 337 Breitkopf & Härtel
Chorus (with soloists) and orchestra (solos: SATB - choir: SATB - 0.2.0.2. - 0.2...(+)
Chorus (with soloists) and orchestra (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va)) SKU: BR.PB-5329 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Choir; Softbound. Partitur-Bibliothek (Score Library). Mass; Classical. Full score. Composed 1780. 68 pages. Duration 20'. Breitkopf and Haertel #PB 5329. Published by Breitkopf and Haertel (BR.PB-5329). ISBN 9790004210420. 10 x 12.5 inches. According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna, dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998. $51.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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