Spatzenmesse. Par MOZART WOLFGANG AMADEUS. An unusual feature of this Mass is its cyclic form, a compositional principle which Mozart first introduced in his masses in this 'Mass in C': in the Agnus Dei ('Dona nobis pacem') he reverted to the music of the Kyrie, thus giving the Mass overall musical unity. Another unusual feature of this work is its popular character. This is evident both in its catchy themes and in its relatively straigthforward musical structure. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Spatzenmesse. Par MOZART WOLFGANG AMADEUS. An unusual feature of this Mass is its cyclic form, a compositional principle which Mozart first introduced in his masses in this 'Mass in C': in the Agnus Dei ('Dona nobis pacem') he reverted to the music of the Kyrie, thus giving the Mass overall musical unity. Another unusual feature of this work is its popular character. This is evident both in its catchy themes and in its relatively straigthforward musical structure. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Spaur-Messe. Par MOZART WOLFGANG AMADEUS. The relatively unspectacular nature of the 'Spaur Mass' may be one of the reasons for the fact that writers on music generally refer to it only as a peripheral work, a little sister of Mozart's 'important' church works. With regard to scoring, the 'Spaur Mass' belongs to the category of the 'missa solemnis', but its brevity and its stylistic character belong far more to the 'missa brevis'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Spatzenmesse. Par MOZART WOLFGANG AMADEUS. An unusual feature of this Mass is its cyclic form, a compositional principle which Mozart first introduced in his masses in this 'Mass in C': in the Agnus Dei ('Dona nobis pacem') he reverted to the music of the Kyrie, thus giving the Mass overall musical unity. Another unusual feature of this work is its popular character. This is evident both in its catchy themes and in its relatively straigthforward musical structure. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Spaur-Messe. Par MOZART WOLFGANG AMADEUS. The relatively unspectacular nature of the 'Spaur Mass' may be one of the reasons for the fact that writers on music generally refer to it only as a peripheral work, a little sister of Mozart's 'important' church works. With regard to scoring, the 'Spaur Mass' belongs to the category of the 'missa solemnis', but its brevity and its stylistic character belong far more to the 'missa brevis'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Kv 321. Par MOZART WOLFGANG AMADEUS. Gattungen: Psalmen, lateinisch - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Psalmvertonungen, Stundengebet - Langue : Latin / Musique religieuse / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Orgelsolomesse. Par MOZART WOLFGANG AMADEUS. Der Beiname dieser Messe verdankt sich der eigenständig-solistischen Präsenz des Orgelinstruments während des 'Benedictus'-Abschnittes. Damit steht KV 259 in einer bis in die 1730er Jahre zurückreichende Tradition, die sich durch Komponistennamen vor allem aus dem Wiener Raum, wie Georg Reuter, Joseph Haydn, Karl Ditters von Dittersdorf oder Johann Baptist Vanhal belegen lässt. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Kv 321. Par MOZART WOLFGANG AMADEUS. Gattungen: Psalmen, lateinisch - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Psalmvertonungen, Stundengebet - Langue : Latin / Psaumes / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Kv 339. Par MOZART WOLFGANG AMADEUS. Gattungen: Psalmen, lateinisch - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Psalmvertonungen, Stundengebet - Langue : Latin / Psaumes / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Kv 339. Par MOZART WOLFGANG AMADEUS. Gattungen: Psalmen, lateinisch - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Psalmvertonungen, Stundengebet - Langue : Latin / Psaumes / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Kv 321. Par MOZART WOLFGANG AMADEUS. Gattungen: Psalmen, lateinisch - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Psalmvertonungen, Stundengebet - Langue : Latin / Psaumes / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Kv 339. Par MOZART WOLFGANG AMADEUS. Gattungen: Psalmen, lateinisch - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Psalmvertonungen, Stundengebet - Langue : Latin / Psaumes / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Kv 339. Par MOZART WOLFGANG AMADEUS. Gattungen: Psalmen, lateinisch - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Psalmvertonungen, Stundengebet - Langue : Latin/ Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Chiemsee-Messe. Par HAYDN JOHANN MICHAEL. Among Haydn’s over thirty settings of the Latin Ordinary, the Missa in honorem Sanctae Ursula occupies an outstanding position, which, according to the autograph, was completed on 5 August 1793. This Mass has been referred to as the most “Mozartian” of all his masses. With its song-like melodic character, the unity of the motivic material and the harmonius balance between festive and reflective sections this Mass is one of Haydn’s most successful and inspired works. This work, which in addition to the usual Salzburg “church trio” includes two trumpets and timpani, belongs to the category of “Missa solemnis. ” The popular nickname Chiemsee-Messe is bound up with the history ofthe origins of the work. Haydn wrote the Mass for the musically gifted nun, Sebastiana Oswald, who belonged to the Benedictine cloister of Frauenchiemsee. This work soon found widespread acceptance beyond the originally intended sphere of its origins, as is indicated by the numerous copies found in Austrian convents. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale

Chiemsee-Messe. Par HAYDN JOHANN MICHAEL. Among Haydn’s over thirty settings of the Latin Ordinary, the Missa in honorem Sanctae Ursula occupies an outstanding position, which, according to the autograph, was completed on 5 August 1793. This Mass has been referred to as the most “Mozartian” of all his masses. With its song-like melodic character, the unity of the motivic material and the harmonius balance between festive and reflective sections this Mass is one of Haydn’s most successful and inspired works. This work, which in addition to the usual Salzburg “church trio” includes two trumpets and timpani, belongs to the category of “Missa solemnis. ” The popular nickname Chiemsee-Messe is bound up with the history ofthe origins of the work. Haydn wrote the Mass for the musically gifted nun, Sebastiana Oswald, who belonged to the Benedictine cloister of Frauenchiemsee. This work soon found widespread acceptance beyond the originally intended sphere of its origins, as is indicated by the numerous copies found in Austrian convents. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Clarinettes, Timbale