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CHORAL - VOCAL - CHOIR
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Educatif (7)
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TTBB (3)
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Biography (2)
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Baritone Saxophone (2)
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Réduction Piano (2)
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1 Ou 2 Clarinettes (1)
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Xylophone (ou marimba) (1)
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Clavecin (1)
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Double Choeur Mixte (1)
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Voix Solo, Choeur Mixte et Orc… (1)
Soliste, Choeur D'Hommes Et Or… (1)
Accordéon Avec Paroles (1)
S, B, 4 Parties Mixtes Instrum… (1)
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Trompette Et Orchestre (1)
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Saxophone Alto 1 (1)
Choeur de Chambre (Choeur Mixt… (1)
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Brass Quartet: 4 trombones (1)
Woodwind Quartet: any 4 woodwi… (1)
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3 Saxophones (trio) (1)
Flûte Traversière, Hautbois,… (1)
Mezzo-Soprano voice, Piano (1)
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Choeur SA (M) (1)
Choeur D'Hommes (TTBB) Et Choe… (1)
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Conga (1)
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Béla Bartók: Choral Works: Upper Voices A Cappella: Vocal Score
Choral SSAA
SSAA A Cappella
[Vocal Score]
EMB (Editio Musica Budapest)
For Children's and Female Voices. Béla Bartók Complete Critical Edition (Z. 15...
(+)
For Children's and Female Voices. Béla Bartók Complete Critical Edition (Z. 15009), this volume includes Bartók's complete works for children's and female voices. The lyrics in this Urtext edition are in the original languages, but literal English translations are provided in the appendix, which also includes English versions of those of the 27 Two- and Three-Part Choruses that were authorized by the composer.The edition is complete with an informative preface (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailed information on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.This volume is also available cloth-bound, along with the volumes for male voices and for mixed voices, in slipcase (Z. 20076). Separate editions of each work included in this volume are also available.
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Béla Bartók: Choral Works: Mixed Choir A Cappella: Vocal Score
Choral
EMB (Editio Musica Budapest)
Clothbound in Slipcase. Based on the Béla Bartók Complete Critical Edition (Z....
(+)
Clothbound in Slipcase. Based on the Béla Bartók Complete Critical Edition (Z. 15009), these three cloth-bound volumes in slipcase include Bartók's complete choral works. The lyrics in this Urtext edition are in the original languages and in the translations authorized by the composer. Literal English translations are provided in the appendix, which also includes early and alternative versions of the works.The edition is complete with informative prefaces (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailed information on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.The three volumes are also available in paperback (Z. 20035, 20036, 20037). Separate editions of each work included in these volumes are also available.
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Meine Hände Können Reden - 16 Mitmachlieder Und Begleitspiele Für Kinder Von 3 Bis 9 Jahren
Children choir
Peters
Der Liedermacher Maik Göpel begeistert seit Jahren Kindergartenund Grundschulki...
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Der Liedermacher Maik Göpel begeistert seit Jahren Kindergartenund Grundschulkinder mit seinen lustigen Mitmachliedern. Seit 2005 ist er regelmäßig auf Kleinkunst- und Kinderbühnen vertreten. Sein Hit und Video Meine Hände können reden (2010) hat ihn in der Kinderliederszene bekannt gemacht.Nach dem Erfolg seiner CDs sind Maik Göpels Kinderlieder nun erstmals auch als Noten verfügbar. Die Lieder erzählen phantasievolle Geschichten aus dem Kinderalltag, die mit ihren originellen Texten zum Träumen, Spielen, Denken, Reimen oder Zählen anregen. Praktische Mitmach- und Spielvorschläge zu allen Liedern erweitern das Repertoire - eine wahre Schatzkiste für ErzieherInnen, Tagesmütter und -väter, Eltern sowie Musikpädagogen.- Mit Gestaltungs- und Spielvorschlägen zu allen Liedern- Vielseitig einsetzbar in Kindergarten,Kita, Grundschule sowie beim Singen und Spielen zuhause- Leicht zu begleiten dank Akkordsymbolen und Gitarrenintros- Pädagogisch erprobt in Zusammenarbeit mit dem Fach-Verlag ProKitaDie Lieder sind auch auf CD oder einzeln als Download erhältlich. Hörbeispiele und weitere Infos unter: www.liedermaik.de / Choeur D'Enfants
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Küssen Kann Man Nicht Alleine (SATB/Piano Pack)
Choral SATB
SATB, Piano
Bosworth
Chanson Küssen kann man nicht l'alleine de Max Raabe de l'album correspondant Ã...
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Chanson Küssen kann man nicht l'alleine de Max Raabe de l'album correspondant à 2011 fixé comme arrangement SATB choeur mixte avec accompagnement au piano.Livré dans un classeur avec une partition de piano (8 pages) et 10 partitions vocales (8 pages chacun), les deux Rétractés ensemble dans un seul paquet. Piano et de partitions vocales peuvent être commandés séparément du Bosworth Chor Edition dans Cologne. / Choeur Mixte (SATB) Et Piano
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Küssen Kann Man Nicht Alleine
Choral TTBB
TTBB, Piano
Bosworth
Küssen Kann Man Nicht Alleine est la chanson thème à partir de 2011 l'album d...
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Küssen Kann Man Nicht Alleine est la chanson thème à partir de 2011 l'album de Max Raabe. Ce morceau fantastique a été arrangé pour choeur d'hommes TTBB avec piano d'accompagnement.Ce livre fantastique comprend, dix exemplaires de la partie vocale masculine et une copie de la partition de piano, tous les scellés dans un dossier de choeur. / Choeur D'Hommes (TTBB) Et Piano
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Max Und Die Käsebande (SCHINDLER PETER)
Solistes, Choeur d'Enfants à 1 à 3 Parties, Piano
[Sheet music]
Carus Verlag
Ein Criminal in zwei Akten. Par SCHINDLER PETER. Alter: 8& 12 Jahre Dauer: ca. 9...
(+)
Ein Criminal in zwei Akten. Par SCHINDLER PETER. Alter: 8& 12 Jahre Dauer: ca. 90 min [je Akt ca. 45 min], Pause nach dem 1. Akt Lieder: 17, 3 Instrumentalstücke Besetzung: - 2 Chöre: 1& 3stg, zweite und dritte Gesangsstimme ad lib. - Soli: 9 - Sprechtextrollen: 14 - Sprecher: & - Gemeinde/Publikum: nein - Instrumente: Klavier [Bass, Schlagzeug, Gitarre ad lib. ] Inhalt Im Käsereich von Käsekönig Kurt haben Yogi Yoghurt und Rolly Harzer unrechtmäßig das Regiment an sich gerissen. Molly Appenzell und ihre einheimischen Käserkollegen François Camembert, Luigi Parmigiano und Antje Edamer, sämtlich Herstellervon schmackhaftem Käse, befürchten das Schlimmste: die Vereinheitlichung des Käseweltmarkts durch den geschmacklosen, farblosen, faden Einheitskäse. In ihrer Verzweiflung verbünden sie sich mit der Käsebande und ihrem Anführer Max. Wird die Vielfalt, der Geschmack und die Qualität der Käsesorten erhalten bleiben können? Musik und Text Die spannende Geschichte und die originellen Liedtexte wurden von Peter Schindler mit Musik verschiedenster Stile versehen. Die Soli der Käser entsprechen ihren Herkunftsländern [Ländler, Musette-Walzer, Tarantella], die Mäusebande hat ein schwungvolles, ohrwurmverdächtiges Erkennungslied, die Milchbande rührt zu müden monotonen Rhythmen und Max, der Chef der Mäusebande, reibt sich während eines heißen Rock 'n Roll mit Harzer Roller ein. Musik und Text sind auf einmalige Weise miteinander verwoben. Die Lieder liegen im Umfang a bis f''. Für einen großen spielfreudigen Chor ist das Stück wie geschaffen. Botschaft des Musicals Auch in einer scheinbar ausweglosen Situation lohnt es sich, sich mit anderen zusammen zu tun und zu kämpfen. Denn gemeinsam sind wir stark./ Répertoire / Solistes, Choeur d'Enfants à 1 à 3 Parties, Piano
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Max Und Die Käsebande (SCHINDLER PETER)
Solistes, Choeur d'Enfants à 1 à 3 Parties, Piano
[Sheet music]
Carus Verlag
Ein Criminal in zwei Akten. Par SCHINDLER PETER. Alter: 8& 12 Jahre Dauer: ca. 9...
(+)
Ein Criminal in zwei Akten. Par SCHINDLER PETER. Alter: 8& 12 Jahre Dauer: ca. 90 min [je Akt ca. 45 min], Pause nach dem 1. Akt Lieder: 17, 3 Instrumentalstücke Besetzung: - 2 Chöre: 1& 3stg, zweite und dritte Gesangsstimme ad lib. - Soli: 9 - Sprechtextrollen: 14 - Sprecher: & - Gemeinde/Publikum: nein - Instrumente: Klavier [Bass, Schlagzeug, Gitarre ad lib. ] Inhalt Im Käsereich von Käsekönig Kurt haben Yogi Yoghurt und Rolly Harzer unrechtmäßig das Regiment an sich gerissen. Molly Appenzell und ihre einheimischen Käserkollegen François Camembert, Luigi Parmigiano und Antje Edamer, sämtlich Herstellervon schmackhaftem Käse, befürchten das Schlimmste: die Vereinheitlichung des Käseweltmarkts durch den geschmacklosen, farblosen, faden Einheitskäse. In ihrer Verzweiflung verbünden sie sich mit der Käsebande und ihrem Anführer Max. Wird die Vielfalt, der Geschmack und die Qualität der Käsesorten erhalten bleiben können? Musik und Text Die spannende Geschichte und die originellen Liedtexte wurden von Peter Schindler mit Musik verschiedenster Stile versehen. Die Soli der Käser entsprechen ihren Herkunftsländern [Ländler, Musette-Walzer, Tarantella], die Mäusebande hat ein schwungvolles, ohrwurmverdächtiges Erkennungslied, die Milchbande rührt zu müden monotonen Rhythmen und Max, der Chef der Mäusebande, reibt sich während eines heißen Rock 'n Roll mit Harzer Roller ein. Musik und Text sind auf einmalige Weise miteinander verwoben. Die Lieder liegen im Umfang a bis f''. Für einen großen spielfreudigen Chor ist das Stück wie geschaffen. Botschaft des Musicals Auch in einer scheinbar ausweglosen Situation lohnt es sich, sich mit anderen zusammen zu tun und zu kämpfen. Denn gemeinsam sind wir stark./ Répertoire / Solistes, Choeur d'Enfants à 1 à 3 Parties, Piano
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Max Und Die Käsebande (SCHINDLER PETER)
Solistes, Choeur d'Enfants à 1 à 3 Parties, Piano
[Sheet music]
Carus Verlag
Ein Criminal in zwei Akten. Par SCHINDLER PETER. Alter: 8& 12 Jahre Dauer: ca. 9...
(+)
Ein Criminal in zwei Akten. Par SCHINDLER PETER. Alter: 8& 12 Jahre Dauer: ca. 90 min [je Akt ca. 45 min], Pause nach dem 1. Akt Lieder: 17, 3 Instrumentalstücke Besetzung: - 2 Chöre: 1& 3stg, zweite und dritte Gesangsstimme ad lib. - Soli: 9 - Sprechtextrollen: 14 - Sprecher: & - Gemeinde/Publikum: nein - Instrumente: Klavier [Bass, Schlagzeug, Gitarre ad lib. ] Inhalt Im Käsereich von Käsekönig Kurt haben Yogi Yoghurt und Rolly Harzer unrechtmäßig das Regiment an sich gerissen. Molly Appenzell und ihre einheimischen Käserkollegen François Camembert, Luigi Parmigiano und Antje Edamer, sämtlich Herstellervon schmackhaftem Käse, befürchten das Schlimmste: die Vereinheitlichung des Käseweltmarkts durch den geschmacklosen, farblosen, faden Einheitskäse. In ihrer Verzweiflung verbünden sie sich mit der Käsebande und ihrem Anführer Max. Wird die Vielfalt, der Geschmack und die Qualität der Käsesorten erhalten bleiben können? Musik und Text Die spannende Geschichte und die originellen Liedtexte wurden von Peter Schindler mit Musik verschiedenster Stile versehen. Die Soli der Käser entsprechen ihren Herkunftsländern [Ländler, Musette-Walzer, Tarantella], die Mäusebande hat ein schwungvolles, ohrwurmverdächtiges Erkennungslied, die Milchbande rührt zu müden monotonen Rhythmen und Max, der Chef der Mäusebande, reibt sich während eines heißen Rock 'n Roll mit Harzer Roller ein. Musik und Text sind auf einmalige Weise miteinander verwoben. Die Lieder liegen im Umfang a bis f''. Für einen großen spielfreudigen Chor ist das Stück wie geschaffen. Botschaft des Musicals Auch in einer scheinbar ausweglosen Situation lohnt es sich, sich mit anderen zusammen zu tun und zu kämpfen. Denn gemeinsam sind wir stark./ Répertoire / Solistes, Choeur d'Enfants à 1 à 3 Parties, Piano
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Max Und Die Käsebande (SCHINDLER PETER)
Solistes, Choeur d'Enfants à 1 à 3 Parties, Piano
Carus Verlag
Ein Criminal in zwei Akten. Par SCHINDLER PETER. Alter: 8& 12 Jahre Dauer: ca. 9...
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Ein Criminal in zwei Akten. Par SCHINDLER PETER. Alter: 8& 12 Jahre Dauer: ca. 90 min [je Akt ca. 45 min], Pause nach dem 1. Akt Lieder: 17, 3 Instrumentalstücke Besetzung: - 2 Chöre: 1& 3stg, zweite und dritte Gesangsstimme ad lib. - Soli: 9 - Sprechtextrollen: 14 - Sprecher: & - Gemeinde/Publikum: nein - Instrumente: Klavier [Bass, Schlagzeug, Gitarre ad lib. ] Inhalt Im Käsereich von Käsekönig Kurt haben Yogi Yoghurt und Rolly Harzer unrechtmäßig das Regiment an sich gerissen. Molly Appenzell und ihre einheimischen Käserkollegen François Camembert, Luigi Parmigiano und Antje Edamer, sämtlich Herstellervon schmackhaftem Käse, befürchten das Schlimmste: die Vereinheitlichung des Käseweltmarkts durch den geschmacklosen, farblosen, faden Einheitskäse. In ihrer Verzweiflung verbünden sie sich mit der Käsebande und ihrem Anführer Max. Wird die Vielfalt, der Geschmack und die Qualität der Käsesorten erhalten bleiben können? Musik und Text Die spannende Geschichte und die originellen Liedtexte wurden von Peter Schindler mit Musik verschiedenster Stile versehen. Die Soli der Käser entsprechen ihren Herkunftsländern [Ländler, Musette-Walzer, Tarantella], die Mäusebande hat ein schwungvolles, ohrwurmverdächtiges Erkennungslied, die Milchbande rührt zu müden monotonen Rhythmen und Max, der Chef der Mäusebande, reibt sich während eines heißen Rock 'n Roll mit Harzer Roller ein. Musik und Text sind auf einmalige Weise miteinander verwoben. Die Lieder liegen im Umfang a bis f''. Für einen großen spielfreudigen Chor ist das Stück wie geschaffen. Botschaft des Musicals Auch in einer scheinbar ausweglosen Situation lohnt es sich, sich mit anderen zusammen zu tun und zu kämpfen. Denn gemeinsam sind wir stark./ Répertoire / Solistes, Choeur d'Enfants à 1 à 3 Parties, Piano
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Wolfgang Amadeus Mozart: Missa in C major K.337: Mixed Choir: Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Barenreiter
Missa solemnis-Mozart composed the Mass in C K.337 about one year after the Coro...
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Missa solemnis-Mozart composed the Mass in C K.337 about one year after the Coronation Mass K. 317; 'nel Marzo 1780 in Salisburgo' he wrote on the first page of his original score. And just as was the case with K.317 this work together with a new church sonata (K. 336/336) will have been intended for the Easter High Mass in Salzburg Cathedral. The formal instrumentation of the score with oboes solo bassoon trumpets and timpani (but without horns) only serves to strengthen such a supposition. What is striking about the work is the rigorously contrapuntal Benedictus which forms a stark contrast to the similarly unusual Agnus Dei in which a solo organ alternating with theconcertante wind instruments (oboe and bassoon) provides a framework for the coloratura-rich part of the solo soprano. Urtext of the “New Mozart Edition” Ideal for church services and concert performances Full score & performance material (BA4881) and vocal score (BA4881-90) for sale
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Wolfgang Amadeus Mozart: Lucio Silla K.135: Voice: Vocal Score
Opera
[Sheet music]
Barenreiter
Lucio Silla K. 135Dramma per musica in three actsOn 13 December 1769 Leopold Moz...
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Lucio Silla K. 135Dramma per musica in three actsOn 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg. The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate K.87 (74a) for the 1770–71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started work on the opera in Bologna on 29 September 1770 and the première duly took place on the Feast of St. Stephen (26 December) in 1770. The second Lucio Silla (K. 135) again commissioned for the 1771–72 Carneval season inMilan doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received an invitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand the third son of Maria Theresia scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba K. 111.)- Urtext of the New Mozart Edition- Full score (BA4590-01) and vocal score (BA4590-90) available for sale- Performance material (BA4590-72) available for hire
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Wolfgang Amadeus Mozart: Missa in C major K.337: Mixed Choir: Vocal Score
[Vocal Score]
Barenreiter
Missa solemnis-Mozart composed the Mass in C K.337 about one year after the Coro...
(+)
Missa solemnis-Mozart composed the Mass in C K.337 about one year after the Coronation Mass K. 317; 'nel Marzo 1780 in Salisburgo' he wrote on the first page of his original score. And just as was the case with K.317 this work together with a new church sonata (K. 336/336) will have been intended for the Easter High Mass in Salzburg Cathedral. The formal instrumentation of the score with oboes solo bassoon trumpets and timpani (but without horns) only serves to strengthen such a supposition.What is striking about the work is the rigorously contrapuntal Benedictus which forms a stark contrast to the similarly unusual Agnus Dei in which a solo organ alternating with theconcertante wind instruments (oboe and bassoon) provides a framework for the coloratura-rich part of the solo soprano.Urtext of the ?New Mozart Edition?Ideal for church services and concert performancesFull score & performance material (BA4881) and vocal score (BA4881-90) for sale
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Wolfgang Amadeus Mozart: Missa Brevis In G Major K.49: Mixed Choir: Part
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
The first page of the autograph of the Mass K.49 (47d) bears below the author&rs...
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The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.
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Wolfgang Amadeus Mozart: Missa in C major K.257: Mixed Choir: Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...
(+)
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
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Wolfgang Amadeus Mozart: Missa Brevis In G Major K.49: Mixed Choir: Score
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
[Sheet music]
Barenreiter
The first page of the autograph of the Mass K.49 (47d) bears below the author&rs...
(+)
The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.
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AntonÃn Dvo?ák: Cypresses For Tenor And Piano B 11: Tenor: Vocal Work
Tenor voice, Piano
Barenreiter
Cyprise-In 1865 Dvorák firmly convinced of his love for one of the daughters o...
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Cyprise-In 1865 Dvorák firmly convinced of his love for one of the daughters of the ermáková family probably the older Josefina wrote his first song cycle Cypresses.Despite the popularity of Dvorák's arrangements for String Quartet the original version of this work has remained in manuscript form until now.This first ever Urtext edition is based on the original autograph as well as later versions. A printed collection of poems by Pfleger from 1862 were also drawn upon as sources. The musical text is accompanied by a detailed introduction in English German and Czech written by the Dvorák scholar DavidBeveridge. A critical commentary in English only is also included as are translations of the song texts in English and German.
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Wolfgang Amadeus Mozart: Missa Brevis In G Major K.49: Continuo: Part
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
The first page of the autograph of the Mass K.49 (47d) bears below the author&rs...
(+)
The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.
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Wolfgang Amadeus Mozart: Regina coeli in B-flat major K.127: Mixed Choir: Vocal
Klavierauszug - Sopran solo, Gemischter Chor und Klavier
[Sheet music]
Barenreiter
The young Mozart composed three settings of the 'Regina Coeli' an ancient Latin...
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The young Mozart composed three settings of the 'Regina Coeli' an ancient Latin Marian hymn of the Catholic church. The ?Regina coeli? K.127 composed in Salzburg in May 1772 is very similar in expression and formal structure to the first ?Regina coeli? K.108 (74d) on the same Marian antiphon. But compared with the first work K.127 discloses a greater contrapuntal refinement despite its large orchestral forces from which however the trumpets and kettledrums were omitted. The copies of choral works by Michael Haydn and Ernst Erberlin which Mozart made in the spring of 1773 underscore Mozart?s unflagging interest in contrapuntal techniques.Urtext ofthe New Mozart EditionFull score & performance material (BA4887) and vocal score (BA4887-90) for sale
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Wolfgang Amadeus Mozart: Missa in C major K.257: Mixed Choir: Part
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...
(+)
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
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Wolfgang Amadeus Mozart: Missa in C major K.257: Mixed Choir: Part
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...
(+)
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
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Wolfgang Amadeus Mozart: Missa in C major K.257: Voice: Vocal Score
Choral SATB
SATB, Piano
[Sheet music]
-
Intermediate/advanced
Barenreiter
The Missa K.257 bears the non-authentic dating 1776 and was presumably composed ...
(+)
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
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AntonÃn Dvo?ák: Requiem Op.89 B.165 Chamber Version - Violin II: Mixed Choir:
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Standard choral work with a manageable reduced orchestration.A stylistically app...
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Standard choral work with a manageable reduced orchestration.A stylistically appropriate as well as tried and tested arrangement.Compatible with Vocal score H 2924-90.Dvo ák?s Requiem for soloists choir and orchestra is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Anton n Dvo ák.The arrangement dispenses with all the brass instruments except for a single Horn; all that remains of the Percussion arethe Timpani; the Organ has also been taken out. The cor anglais and Bass Clarinet parts can be replaced by an Oboe and Clarinet (ossia staves in score and parts).This arrangement which judiciously reduces the richness of Dvo ák?s original orchestration makes the work available to a broader range of performers outside professional circles.
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AntonÃn Dvo?ák: Requiem Op.89 B.165 Chamber Version - Wind Set: Mixed Choir:
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Standard choral work with a manageable reduced orchestration.A stylistically app...
(+)
Standard choral work with a manageable reduced orchestration.A stylistically appropriate as well as tried and tested arrangement.Compatible with Vocal score H 2924-90.Dvo ák?s Requiem for soloists choir and orchestra is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Anton n Dvo ák.The arrangement dispenses with all the brass instruments except for a single Horn; all that remains of the Percussion arethe Timpani; the Organ has also been taken out. The cor anglais and Bass Clarinet parts can be replaced by an Oboe and Clarinet (ossia staves in score and parts).This arrangement which judiciously reduces the richness of Dvo ák?s original orchestration makes the work available to a broader range of performers outside professional circles.
28.50 GBP - Sold by Musicroom UK
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AntonÃn Dvo?ák: Requiem Op.89 B.165 Chamber Version - Full Score: Mixed Choir:
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Standard choral work with a manageable reduced orchestration.A stylistically app...
(+)
Standard choral work with a manageable reduced orchestration.A stylistically appropriate as well as tried and tested arrangement.Compatible with Vocal score H 2924-90.Dvo ák?s Requiem for soloists choir and orchestra is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Anton n Dvo ák.The arrangement dispenses with all the brass instruments except for a single Horn; all that remains of the Percussion arethe Timpani; the Organ has also been taken out. The cor anglais and Bass Clarinet parts can be replaced by an Oboe and Clarinet (ossia staves in score and parts).This arrangement which judiciously reduces the richness of Dvo ák?s original orchestration makes the work available to a broader range of performers outside professional circles.
77.50 GBP - Sold by Musicroom UK
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Wolfgang Amadeus Mozart: Missa in C major K.257: Mixed Choir: Parts
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
Great Credo Mass-The Missa K.257 bears the non-authentic dating 1776 and was pre...
(+)
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
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On A Tous Péché
Français
Piano, Voice
[Score and Parts]
Martin, Robert
Compositeur(s): K. Patient (K-Reen)/M. Georgiades/C. Moses/Y. Jaquemet / Piano E...
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Compositeur(s): K. Patient (K-Reen)/M. Georgiades/C. Moses/Y. Jaquemet / Piano Et Chant / Chanson En Séparée
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Béla Bartók: Choral Works: Mixed Choir A Cappella: Vocal Score
Choral SATB
[Vocal Score]
EMB (Editio Musica Budapest)
For Mixed Voices. Béla Bartók Complete Critical Edition (Z. 15009), this volum...
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For Mixed Voices. Béla Bartók Complete Critical Edition (Z. 15009), this volume includes Bartók's complete works for mixed voices. The lyrics in this Urtext edition are in the original languages and in the translations authorized by the composer. Literal English translations are provided in the appendix.The edition is complete with an informative preface (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailed information on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.This volume is also available cloth-bound, along with the volumes for children's and female voices and for male voices, in slipcase (Z. 20076). Separate editions of each work included in this volume are also available.
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Wolfgang Amadeus Mozart: Missa Brevis In G Major K.49: Mixed Choir: Part
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
The first page of the autograph of the Mass K.49 (47d) bears below the author&rs...
(+)
The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.
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Wolfgang Amadeus Mozart: Missa Brevis In G Major K.49: Mixed Choir: Part
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
The first page of the autograph of the Mass K.49 (47d) bears below the author&rs...
(+)
The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.
5.00 GBP - Sold by Musicroom UK
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Wolfgang Amadeus Mozart: Missa Brevis In G Major K.49: Mixed Choir: Parts
Soli, Mixted choir and accompaniment
satb (soli), SATB (choir), Orchestra
Barenreiter
The first page of the autograph of the Mass K.49 (47d) bears below the author&rs...
(+)
The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.
6.50 GBP - Sold by Musicroom UK
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