Missa Cellensis Hob.XXII:8 'Mass for Mariazell'Urtext: J. Haydn Werke Henle Verlag Score containing alsoMissa brevis Sti Joannis de Deo (Little Organ Mass) (Hob.XXII:7)Missa in Tempore Belli (Pauken Mass) (Hob.XXII:9)Missa Sti Bernardi von Offida (Heilig Mass) (Hob.XXII:10)Appendix: Inter alia the version of the Gloria from (Hob.XXII:7) from Michael HaydnIn March 1781 one of Haydn’s friends Anton Liebe a member of an old and distinguished Austrian military family was raised to the nobility. He seems to have asked his friend Joseph Haydn to write a festive “thankoffering” in the form of a Mass for the famous pilgrimage church of Mariazell in Styria. Haydn began the work in 1782 and recently the original parts to the Missa Cellensis were found in the organ loft of the splendid baroque church at Mariazell.Haydn’s “Mariazellermesse” has always been one of his most popular works. The “Volkstümlichkeit” (which one might translate as “down to-earthiness”) the miraculous fusion of polyphonic forms with the language and form of the Vienna classical school – note that the Kyrie is in sonata form with shortened recapitulation and coda – the brilliant orchestration to which the trumpets and drums contribute so much festive joyousness: all these have won the hearts of audiences everywhere whenever the Mass was given.- Urtext from Joseph Haydn Werke- Full score parts and vocal score available for sale

German/English Urtext Edition edited A. Oppermann.The oratorio The Creation represents not only a crucial point in Joseph Haydn's compositional output but at the same time marks the beginning of a new chapter in the history of the oratorio. At the turn of the 19th century Haydn broke with the traditional dominance of the arias giving the chorus a distinctly greater significance. This opened the way for a new kind of choral oratorio which became one of the standard features of developing bourgeois concert life.The text translated from the English original by Baron van Swieten Prefect of the imperial court library in Vienna combinesprose texts of the creation story in Luther's translation of the Bible with complementary excerpts from John Milton's Paradise Lost.Instrumentation: Soprano solo Tenor solo Bass solo Mixed Choir-SATB Piano reduction accompaniment

für Kaiserin Marie Therese-Haydn's Te Deum for Empress Marie Therese for SATB.Haydn made two settings of the Ambrosian song of praise the Te Deum. The second of these was written for the Empress Marie Therese to a commission from the court of Vienna; a work of Haydn?s last period it dates from 1800. Its large orchestra gives this work which makes no use of solo singers a particular splendour of sound skin to that of the choruses in Haydn?s Creation.

The Seven Words Of Our Saviour On The Cross-Haydn's setting of the Passion of Christ in full vocal score. The work was originally written in 1786 as a program of instrumental music to accompany the Seven Words Of Jesus On The Cross for a service at Cadiz. Haydn then embellished the work into a full Oratorio for Lent services at the Cathedral of Cadiz. This final version is presented here for SATB chorus and a Piano reduction of the orchestral material.

Full score and performance material available for sale.Urtext from Joseph Haydn Werke G. Henle Verlag Munich.The Creation Mass was composed and first performed during the last decade of Haydn's life in September 1801 at the Bergkirche at the Esterhazy estate in Eisenstadt on the occasion of the nameday of Princess Maria Hermenegild. The nickname 'Creation' stems from Haydn's incorporating into the Gloria movement (at the words 'Qui tollis peccata mundi') a quotation from Adam and Eve's duet in his oratorio The Creation.

Il ritorno di Tobia-Written 25 years prior to Haydn's late great oratorios his first oratorio telling the Biblical story of young Tobias who is able to cure his blind father with heavenly help is in the tradition of the Neapolitan oratorio andalready displays signs of Haydn's personal style; it is one of the most significant sacred works that he had written up to that time. This applies both to the virtuoso arias as well as to the expressive choruses. This work waslong-neglected but this Urtext Study Edition reflects its renewed popularity.

Scored for Soprano Alto Tenor and Bass soli SATB choir and orchestra. Haydn composed the Maria Theresa Mass in 1799 between the Creation and the Seasons. Revised edition by Michael Pilkington. Latin text.

Vocal Score edition of 'Harmonie-Messe' Hob.XXII:14 for soprano alto tenor and bass soli SATB choir and orchestra. Revised by Michael Pilkington. The Wind Band Mass is the last of Haydn's six great Masses composed for the name-day of Princess Maria Jospha Hermenegild between 1796 and 1802. This vocal score is based on the Complete Works edition of Friedrich Lippmann.

Tonalité : A-Dur -. Par HAYDN FRANZ JOSEF. Em Pianoehlungen: Kammerchor - Em Pianoehlungen von Frieder Bernius - Gattungen: Weltliche Chorsätze - Langue : Allemand/ Répertoire / Choeur SATB et Piano

Edited with a new English translation by Michael Pilkington. The English translation in this edition is entirely new and attempts to provide a translation of van Swieten's text that fits Haydn's music. The style used tries to give some flavour of eighteenth-century language while being easily intelligible today being an eighteenth century work.Arranged for soprano tenor and bass soloists SATB and orchestra. English/German edition.

This high quality hardback study edition follows the scholarly musical text in the Henle Haydn Complete Edition (published in 2007).

The Novello Book of Classic Anthems brings together some of the finest sacred choruses ever written. The collection includes miniature gems including Edward Elgar’s Ave verum corpus Henry Purcell’s Thou knowest Lord the secrets of our hearts and Thomas Attwood’s Come Holy Ghost and established choral favourites such as Handel’s Hallelujah Chorus Henry Balfour Gardiner’s Evening Hymn and Samuel Sebastian Wesley’s Blessed be the God and Father. It also covers a number of dramatic extended anthems suitable for both church choirs and choral societies such as Edward Naylor’s Vox dicentis: clama John Stainer’s I saw the Lord and Wesley’s Ascribe unto the Lord and twentieth-century classics such as William Harris’s Bring us O Lord God Patrick Hadley’s My beloved spake and Edgar Bainton’s And I saw a new heaven. All the pieces have been re-engraved and some such as Haydn’s The heavens are telling and Brahms’s How lovely are thy dwellings have newly arranged accompaniments specifically designed for the Organ. This collection of nineteen anthems covers a wide range of moods and festivals and offers a delightful concert programme in itself as well as an essential addition to any choir’s library.

Mozart's only Te Deum K141 was probably composed in Salzburg at the end of 1769 and is modelled almost exactly on Michael Haydn's Te Deum of 1760. It is scored for SATB chorus Trumpet (4) Kettledrum Strings Organ.Full score Vocal score (BA4885-90) and performance material (BA4885) based on the Urtext New Mozart Edition is available for sale.

Mozart's only Te Deum K141 was probably composed in Salzburg at the end of 1769 and is modelled almost exactly on Michael Haydn's Te Deum of 1760. It is scored for SATB chorus Trumpet (4) Kettledrum Strings Organ.Full score vocal score (BA4885-90) and performance material (BA4885) based on the Urtext New Mozart Edition is available for sale.