SKU: BR.OB-5372-15

ISBN 9790004331194. 10 x 12.5 inches.

With the Symphony K. 112, Cliff Eisen, Professor at the renowned Kings College and one of the leading Mozart specialists of the younger generation, continues the series of new editions of Mozarts orchestral works which began with the Prague Symphony. Here too, the editorial principles follow the guidelines of Urtext. In his work, he takes particular care in bringing his expert knowledge of contemporary performance practice into play when evaluating authentic part material. Eisen comes to surprising conclusions in a number of cases. At the very least, the Symphony K. 112 will sound different in these passages with the new material.

SKU: BR.OB-5281-30

ISBN 9790004333129. 10 x 12.5 inches.

Mozart wrote the Missa brevis in B flat major K. 275 in 1777. In keeping with the tradition of the genre, the movements are short and succinct. Mozart sometimes even further compresses the work by having different textual passages sung simultaneously. The orchestral scoring is also accordingly concentrated. Alfred Einstein described the expressive content of the mass as intimate, lyrical, almost private and characterized it on the other hand as a work full of delicacy and conspicuous polyphony and, above all, of chromatic agitation and boldness.The autograph of the work is no longer extant. Franz Beyer's Urtext edition is based on one of the most important sources of this work.

SKU: TM.08560SET

Completed and Edited by Schmitt. Contains the various parts of Mass, including Sacred compositions used for completion. Different edition than #08547. Vocal score in modern clefs; voices in score in C clefs.

SKU: BR.PB-5170-07

ISBN 9790004209110. 5.5 x 7.5 inches.

Mozart wrote the Missa brevis in B flat major K. 275 in 1777. In keeping with the tradition of the genre, the movements are short and succinct. Mozart sometimes even further compresses the work by having different textual passages sung simultaneously. The orchestral scoring is also accordingly concentrated. Alfred Einstein described the expressive content of the mass as intimate, lyrical, almost private and characterized it on the other hand as a work full of delicacy and conspicuous polyphony and, above all, of chromatic agitation and boldness.The autograph of the work is no longer extant. Franz Beyer's Urtext edition is based on one of the most important sources of this work.

SKU: BR.OB-5296-19

ISBN 9790004340547. 10 x 12.5 inches.

Mozart's late E flat major Symphony was written in 1788, presumably for subscription concerts that ultimately did not take place. The new edition is based on the sole extant authentic source, the autograph from the Biblioteka Jagiellonska in Krakow. Unfortunately, the manuscript was notated negligently and faultily, which forced the editor to make frequent decisions about whether Mozart did or did not intend different articulations at many passages. Cliff Eisen's editorial competence was a major asset here.

Urtext braves negligently notated autograph.

SKU: BR.PB-5281

ISBN 9790004210291. 9 x 12 inches.

Mozart wrote the Missa brevis in B flat major K. 275 in 1777. In keeping with the tradition of the genre, the movements are short and succinct. Mozart sometimes even further compresses the work by having different textual passages sung simultaneously. The orchestral scoring is also accordingly concentrated. Alfred Einstein described the expressive content of the mass as intimate, lyrical, almost private and characterized it on the other hand as a work full of delicacy and conspicuous polyphony and, above all, of chromatic agitation and boldness.The autograph of the work is no longer extant. Franz Beyer's Urtext edition is based on one of the most important sources of this work.

SKU: BR.PB-5372

ISBN 9790004210956. 10 x 12.5 inches.

With the Symphony K. 112, Cliff Eisen, Professor at the renowned Kings College and one of the leading Mozart specialists of the younger generation, continues the series of new editions of Mozarts orchestral works which began with the Prague Symphony. Here too, the editorial principles follow the guidelines of Urtext. In his work, he takes particular care in bringing his expert knowledge of contemporary performance practice into play when evaluating authentic part material. Eisen comes to surprising conclusions in a number of cases. At the very least, the Symphony K. 112 will sound different in these passages with the new material.