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

Set of Wind Parts-We know that Mozart held his Vespers in high regard since he once asked his father in a letter dated 12 March 1783 to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Office hymns designated as Vesperae de Dominica K. 321 and Vesperae Solennes De Confessore K. 339 both call for four Vocal parts two Violins two Clarini Kettledrums Basses (Violoncello Double Bass and Bassoon) three Trombones and Organ.They contain settings of Psalms 109 (Dixit) 110 (Confitebor) 111 (Beatus vir) 112 (Laudate pueri) 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms anautonomous unit; the Doxology at the end is derived from the themes of the various Psalms.Urtext of the New Mozart EditionPerformance material (BA4894) vocal score (BA4894-90) available for sale