Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 20
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-15. Published by
Breitkopf and Haertel
(BR.OB-5562-15).
ISBN
9790004342282. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Chorus (with soloists)
and orchestra (solos:
SSTB - choir: SATBSATB -
1.2.0.2 - 2.2.3.0 - timp
- org - str)
SKU:
BR.PB-5596-07
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
Softbound.
Partitur-Bibliothek
(Score Library).
The
Missa in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Study Score.
188 pages. Duration 52'.
Breitkopf and Haertel #PB
5596-07. Published by
Breitkopf and Haertel
(BR.PB-5596-07).
ISBN
9790004214060. 6.5 x 9
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Chorus (with soloists)
and orchestra (solos:
SSTB - choir: SATBSATB -
1.2.0.2 - 2.2.3.0 - timp
- org - str)
SKU:
BR.PB-5562
Urtext
- Completion.
Composed by Wolfgang
Amadeus Mozart. Edited by
Clemens Kemme. Arranged
by Clemens Kemme. Choir;
Softbound.
Partitur-Bibliothek
(Score Library).
The
Missa in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Full score.
188 pages. Duration 52'.
Breitkopf and Haertel #PB
5562. Published by
Breitkopf and Haertel
(BR.PB-5562).
ISBN
9790004213728. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 24
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-16. Published by
Breitkopf and Haertel
(BR.OB-5562-16).
ISBN
9790004342299. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
Folder.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Set of parts.
116 pages. Duration 52'.
Breitkopf and Haertel #OB
5562-30. Published by
Breitkopf and Haertel
(BR.OB-5562-30).
ISBN
9790004342329. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 20
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-19. Published by
Breitkopf and Haertel
(BR.OB-5562-19).
ISBN
9790004342305. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 20
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-26. Published by
Breitkopf and Haertel
(BR.OB-5562-26).
ISBN
9790004342312. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Chorus (with soloists) and piano (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2....(+)
Chorus (with soloists)
and piano (solos: SSTB -
choir: SATBSATB - 1.2.0.2
- 2.2.3.0 - timp - org -
str)
SKU:
BR.EB-8654
Urtext
- Completion.
Composed by Wolfgang
Amadeus Mozart. Edited by
Clemens Kemme. Arranged
by Clemens Kemme. Choir;
Softbound. Edition
Breitkopf. The Missa in c
was so dear to Mozart
that he cited it as
evidence of the reality
of my vow to marry his
beloved Constanze and to
complete the only
half-finished mass.
Nevertheless, one of
Mozart's greatest
masterpieces remained a
torso. Mass; Classical.
Piano/Vocal Score. 116
pages. Duration 52'.
Breitkopf and Haertel #EB
8654. Published by
Breitkopf and Haertel
(BR.EB-8654).
ISBN
9790004184882. 7.5 x 10.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Organ (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str) ...(+)
Organ (solos: SSTB -
choir: SATBSATB - 1.2.0.2
- 2.2.3.0 - timp - org -
str)
SKU:
BR.OB-5562-11
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by C. M.
and Kemme Grunert. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 32
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-11. Published by
Breitkopf and Haertel
(BR.OB-5562-11).
ISBN
9790004343548. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Urtext -
Completion. Composed
by Wolfgang Amadeus
Mozart. Edited by Clemens
Kemme. Arranged by
Clemens Kemme. Choir;
stapled.
Orchester-Bibliothek
(Orchestral Library).
The Missa in c was so
dear to Mozart that he
cited it as evidence of
the reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso.
Have. Mass;
Classical. Part. 24
pages. Duration 52'.
Breitkopf and Haertel #OB
5562-12. Published by
Breitkopf and Haertel
(BR.OB-5562-12).
ISBN
9790004344460. 10 x 12.5
inches.
The Missa
in c was so dear to
Mozart that he cited it
as evidence of the
reality of my vow to
marry his beloved
Constanze and to complete
the only half-finished
mass. Nevertheless, one
of Mozart's greatest
masterpieces remained a
torso. The Dutch music
theorist, arranger, and
musicologist Clemens
Kemme closes the gap in
this work by creating a
new supplement,
creatively and profoundly
grounded and giving due
respect to the
composition, hence
fulfilling that part of
Mozart's vow after more
than 200 years. This
version is published by
Breitkopf, complete with
performance material,
piano reduction, and
study score. The edition
is based on a meticulous
re-examination of the
sources for the completed
sections and
offersAddenda validated
by authentic materialNew
orchestration of the two
Credo movements modeled
on Handel and Bach as
well as on Mozart's own
music, e.g., the aria Se
il padre perdei
(Idomeneo)Reconstruction
of the Sanctus for double
chorus from secondary
sources and models by
Caldara and J. Chr.
BachSections added in the
score clear at first
glance from their gray
resolutionPreparation of
the edition in close
collaboration with Frans
BruggenFirst performance
of the version in 2006 by
Bruggen with many
subsequent performances,
such as by the chorus of
the Bavarian Radio under
Peter Dijkstra (together
with CD production) Kemme
applies the same level of
care and diligence shown
in his 'Et incarnates
est' and 'Osanna'
reconstructions
throughout the score,
though these two
movements truly set this
edition apart from its
predecessors. Careful
awareness of
eighteenth-century music
theory and practices
facilitate skillful and
insightful interventions
at every stage. The
outcome is a highly
refined and elegant take
on the C-minor mass as
Mozart left it. (Peter
Keenan,
Eighteenth-Century
Music)Audio samples:10.
Et incarnatus est: Claron
McFadden (Soprano),
Orchestra of the 18th
Century, cond. Frans
Bruggen (NOS Radio, 2006)
11. Sanctus: Chor des
Bayerischen Rundfunks,
Munchener
Kammerorchester, cond.
Peter Dijkstra (Sony,
2013)
This edition
represents the
culmination of some
eleven or so years of
extensive research. It
brings an exhaustive
understanding of
eighteenth-century
practices and Mozart's
stylistic habits to bear
on the unfathomable task
of replicating Mozart's
style without impinging
upon the tone of the
work. The rigour with
which Clemens Kemme has
produced this edition of
Mozart's abandoned mass
is nothing but
exceptional. (Peter
Keenan,
Eighteenth-Century
Music).
Fanfare and Ceremony Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-2018-00 Concert Band. Heritage of the March Series. A...(+)
Grade 3
SKU:
CL.012-2018-00
Concert Band. Heritage of
the March Series. Audio
recording available
separately (item
CL.WFR196). Score and set
of parts. Composed 1987.
Duration 5 minutes, 15
seconds. Opus III Wind
Orchestra Publications
#012-2018-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-2018-00).
From the
exciting trumpet-stated
fanfare to the broad
lines of the ceremony
section this piece shows
off the band in a style
that lends itself to both
contest and program
performance. Using
traditional harmony,
Cacavas captures the
grandeur of music for a
stately occasion.
Complete cross-scoring
will allow bands of
minimal instrumentation
to perform it to good
advantage.
About Heritage
of the
March
Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style
Grade 3 SKU: CL.012-2018-01 Concert Band. Heritage of the March Series. A...(+)
Grade 3
SKU:
CL.012-2018-01
Concert Band. Heritage of
the March Series. Audio
recording available
separately (item
CL.WFR196). Extra full
score. Composed 1987.
Duration 5 minutes, 15
seconds. Opus III Wind
Orchestra Publications
#012-2018-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-2018-01).
From the
exciting trumpet-stated
fanfare to the broad
lines of the ceremony
section this piece shows
off the band in a style
that lends itself to both
contest and program
performance. Using
traditional harmony,
Cacavas captures the
grandeur of music for a
stately occasion.
Complete cross-scoring
will allow bands of
minimal instrumentation
to perform it to good
advantage.
About Heritage
of the
March
Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style
I'm the Greatest Star
* People * Don't Rain on
My Parade. Composed
by Jule Styne. Arranged
by Lisa DeSpain.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Form: Medley. Broadway;
Secular. Choral Octavo.
16 pages. Alfred Music
#00-50295. Published by
Alfred Music (AP.50295).
UPC: 038081574653.
English. Words by Bob
Merrill.
Hello,
gorgeous! Fans of Lea
Michelle rejoiced when
the Glee star joined the
first-ever Broadway
revival of this Streisand
star vehicle, which
introduced the showbiz
score to a whole new
generation. Lisa
DeSpain's pizzazy
arrangement includes
three beloved songs in
just four minutes.
Choir Secular (SATB choir) SKU: AP.50294 I'm the Greatest Star * Peopl...(+)
Choir Secular (SATB
choir)
SKU:
AP.50294
I'm the
Greatest Star * People *
Don't Rain on My
Parade. Composed by
Jule Styne. Arranged by
Lisa DeSpain. Performance
Music Ensemble; Single
Titles. Alfred Pop Choral
Series. Form: Medley.
Broadway; Secular. Choral
Octavo. 16 pages. Alfred
Music #00-50294.
Published by Alfred Music
(AP.50294).
UPC:
038081574646. English.
Words by Bob
Merrill.
Hello,
gorgeous! Fans of Lea
Michelle rejoiced when
the Glee star joined the
first-ever Broadway
revival of this Streisand
star vehicle, which
introduced the showbiz
score to a whole new
generation. Lisa
DeSpain's pizzazy
arrangement includes
three beloved songs in
just four minutes.
Choir Secular (Women's Choir) SKU: AP.50296 I'm the Greatest Star * Pe...(+)
Choir Secular (Women's
Choir)
SKU:
AP.50296
I'm the
Greatest Star * People *
Don't Rain on My
Parade. Composed by
Jule Styne. Arranged by
Lisa DeSpain. Performance
Music Ensemble; Single
Titles. Alfred Pop Choral
Series. Form: Medley.
Broadway; Secular. Choral
Octavo. 16 pages. Alfred
Music #00-50296.
Published by Alfred Music
(AP.50296).
UPC:
038081574660. English.
Words by Bob
Merrill.
Hello,
gorgeous! Fans of Lea
Michelle rejoiced when
the Glee star joined the
first-ever Broadway
revival of this Streisand
star vehicle, which
introduced the showbiz
score to a whole new
generation. Lisa
DeSpain's pizzazy
arrangement includes
three beloved songs in
just four minutes.
Choir Secular SKU: AP.50297 (I'm the Greatest Star * People * Don't Ra...(+)
Choir Secular
SKU:
AP.50297
(I'm the
Greatest Star * People *
Don't Rain on My
Parade). Composed by
Jule Styne. Arranged by
Lisa DeSpain. This
edition: SoundTrax CD.
Choral Octavo;
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Form: Medley. Broadway;
Secular. CD. Alfred Music
#00-50297. Published by
Alfred Music (AP.50297).
UPC: 038081574677.
English. Words by Bob
Merrill.
Hello,
gorgeous! Fans of Lea
Michelle rejoiced when
the Glee star joined the
first-ever Broadway
revival of this Streisand
star vehicle, which
introduced the showbiz
score to a whole new
generation. Lisa
DeSpain's pizzazy
arrangement includes
three beloved songs in
just four minutes.
Transcribed by R. Mark Rogers for Symphonic Wind Band. Composed by Dmitri ...(+)
Transcribed by R. Mark
Rogers
for Symphonic Wind Band.
Composed by Dmitri
Shostakovich (1906-1975).
Edited by Mark Rogers.
Southern Music. Concert.
Softcover. Southern Music
Company #S977CB.
Published by
Southern Music Company
For Guitar. This edition: Guitar TAB. Artist/Personality; Book; DVD; Guita...(+)
For Guitar. This edition:
Guitar TAB.
Artist/Personality; Book;
DVD; Guitar Method or
Supplement; Guitar TAB;
Play-Along; Software.
Guitar
Sessions. Acoustic; Rock.
60
pages. Published by
Alfred
Music
(A "Poperetta" for Unison and 2-Part Voices (SoundTrax)). Arranged by Alan Billi...(+)
(A "Poperetta" for Unison
and 2-Part Voices
(SoundTrax)). Arranged by
Alan Billingsley, orch.
Alan Billingsley. This
edition: SoundTrax CD.
CD; Classroom/Pre-School;
Musicals; Musicals and
Programs; Reproducible.
Published by Alfred Music
Publishing
Choral (ShowTrax CD) SKU: HL.252659 By Michael Jackson. By Michael Jackso...(+)
Choral (ShowTrax CD)
SKU: HL.252659
By
Michael Jackson. By
Michael Jackson. Arranged
by Mark A. Brymer. Pop
Choral Series. Classics,
Eighties, Pop/Rock, Rock,
Show Choir. CD. Duration
180 seconds. Published by
Hal Leonard (HL.252659).
UPC: 888680718695.
5.0x5.0x0.15
inches.
The
accompaniment tracks for
this new arrangement are
HOT. From the biggest
selling album of all
time--Thriller--this song
reached number 1 in six
countries. As one of
Rolling Stone's 500
greatest songs of all
time and the 100 greatest
guitar songs of all time,
this song and this
arrangement rock just as
hard today as ever. A
great period piece for
your show.
Symphonies. Composed by Jean- Philippe Rameau (1683-1764). Edited by Thomas Sou...(+)
Symphonies. Composed by
Jean-
Philippe Rameau
(1683-1764).
Edited by Thomas Soury.
This
edition: urtext edition.
Paperback. Score,
anthology.
Baerenreiter Verlag
#BA08895_00. Published by
Baerenreiter Verlag
(Studiotrax CD) SKU: HL.35030695 Composed by Boudleaux Bryant and Felice ...(+)
(Studiotrax CD)
SKU:
HL.35030695
Composed
by Boudleaux Bryant and
Felice Bryant. Arranged
by Paul Langford. Shawnee
Press. Fifties, Pop, Show
Choir. CD only. Published
by Shawnee Press
(HL.35030695).
ISBN
9781495053016. UPC:
888680100186. 5x5
inches.
Ray Charles
was one-of-a-kind and so
was his music. This
arrangement is based on
his rousing performance
of the Everly Brothers'
hit; a song considered
one of the 500 greatest
songs of all times by
Rolling Stone
magazine. You'll love
this energizing rendition
complete with rhythm and
horns and a treat for
your women to sing as
well as mixed choirs.
(SAB Choir) SKU: HL.35030691 Composed by Boudleaux Bryant and Felice Brya...(+)
(SAB Choir)
SKU:
HL.35030691
Composed
by Boudleaux Bryant and
Felice Bryant. Arranged
by Paul Langford. Shawnee
Press. Fifties, Pop, Show
Choir. Octavo. 12 pages.
Published by Shawnee
Press (HL.35030691).
ISBN 9781495052972.
UPC: 888680100148.
6.75x10.5
inches.
Ray Charles
was one-of-a-kind and so
was his music. This
arrangement is based on
his rousing performance
of the Everly Brothers'
hit; a song considered
one of the 500 greatest
songs of all times by
Rolling Stone
magazine. You'll love
this energizing rendition
complete with rhythm and
horns and a treat for
your women to sing as
well as mixed choirs.
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.48989 From the mo...(+)
Choir Secular (SAB
choir/3-Part choir Mixed)
SKU: AP.48989
From the motion
picture Hocus
Pocus. Composed
by Jay Hawkins. Arranged
by Jacob Narverud.
Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Classic Pop; Halloween;
Movie; Secular. Choral
Octavo. 16 pages. Alfred
Music #00-48989.
Published by Alfred Music
(AP.48989).
UPC:
038081563138.
English.
This
bewitching bit of '90s
nostalgia will charm your
audience in October or on
any pops program.
Originally written by
Screamin' Jay Hawkins in
1956, this song is
included on Rolling Stone
magazine's list of The
500 Greatest Songs of All
Time. And who can forget
Bette Midler's
show-stopping rendition
in the cult classic film
Hocus Pocus? Conjure up
some costumes and
choreography to brew a
spellbinding performance.
Don't miss the incredible
SoundTrax and SoundPax
instrumentation. Download
PartTrax MP3s for all the
audio you need to
rehearse and perform the
SATB and SSA voicings.
Each PartTrax package
includes full
performance,
accompaniment only, and
part-predominant mixes
for every voice part.
About Alfred
Pop Choral
Series
The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs.