Composed by
Todd Parrish. Set of
Score and Parts. Duration
2 minutes, 27 seconds.
Carl Fischer Music
#YAS221. Published by
Carl Fischer Music
(CF.YAS221).
ISBN
9781491162699. UPC:
680160921447. Key: G
major.
Resolute was
composed to celebrate the
enduring spirit of those
who persevere and
overcome difficult
challenges with fearless
determination. Set in G
major, this triumphant
theme features a strong,
accented melody and
energetic accompaniments
that frequently utilize
double-stops for a
resounding effect. The
shadows of hardship are
heard in a brief shift to
E minor before the
victorious melody returns
with joy that defies
darkness with courageous
hope. The same way we
support each other
through trials, many
melodies and
countermelodies are
doubled between sections
to portray strength and
resolve.Resolute was
premiered by the East
River High School
Orchestra in May of 2022
under the direction of
Mr. Scott Friedberg in
honor of the
orchestra’s 4-year
anniversary, and
dedicated to the
courageous students who
continued to make music
through the pandemic,
demonstrating
determination and
tenacity in their
passionate pursuit of
musical excellence.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Composed
by Todd Parrish. Full
score. 12 pages. Duration
2 minutes, 27 seconds.
Carl Fischer Music
#YAS221F. Published by
Carl Fischer Music
(CF.YAS221F).
ISBN
9781491163030. UPC:
680160921782. Key: G
major.
Resolute was
composed to celebrate the
enduring spirit of those
who persevere and
overcome difficult
challenges with fearless
determination. Set in G
major, this triumphant
theme features a strong,
accented melody and
energetic accompaniments
that frequently utilize
double-stops for a
resounding effect. The
shadows of hardship are
heard in a brief shift to
E minor before the
victorious melody returns
with joy that defies
darkness with courageous
hope. The same way we
support each other
through trials, many
melodies and
countermelodies are
doubled between sections
to portray strength and
resolve.Resolute was
premiered by the East
River High School
Orchestra in May of 2022
under the direction of
Mr. Scott Friedberg in
honor of the
orchestra’s 4-year
anniversary, and
dedicated to the
courageous students who
continued to make music
through the pandemic,
demonstrating
determination and
tenacity in their
passionate pursuit of
musical excellence.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
For
Solo Flute and Wind
Ensemble. Composed by
Gary Schocker. Arranged
by Donald Lewellen. This
edition: Scored and
arranged for Wind
Ensemble by Donald
Lewellen. Contemporary.
Full score. With Standard
notation. Composed 2004.
72 pages. Duration 8:30.
Theodore Presser Company
#415-41138. Published by
Theodore Presser Company
(PR.415411380).
SATB a cappella Choral (SATB) SKU: HL.466849 Excellence in Choral Musi...(+)
SATB a cappella Choral
(SATB)
SKU:
HL.466849
Excellence in Choral
Music Series.
Composed by John Milne.
Pavane Choral. Concert,
Poetry. Octavo. Duration
170 seconds. Pavane
Publishing #P1714.
Published by Pavane
Publishing (HL.466849).
UPC: 196288070771.
6.75x10.5x0.019
inches.
Composed at
the height of the
pandemic, this piece
speaks to one of the
highest functions of art
- to transmute sorrow
into something useful and
beautiful. Yeats is a
famous poet whose words
have many meanings. The
poem is weaved into three
sections and Milne
follows that by
constructing his motet
into three verses. His
melody is as haunting and
thoughtful as the poet's
lyrics. Furthermore, he
keeps the vocal lines
free of divisi yet full
of suspensions and
resolutions that entice
the listener. A fine
concert piece for high
school and college
choirs.
Violin solo SKU: GH.GE-11358 For Solo Violin. Composed by Benjamin...(+)
Violin solo
SKU:
GH.GE-11358
For
Solo Violin. Composed
by Benjamin Staern.
Duration 9 minutes.
Gehrmans Musikforlag #GE
11358. Published by
Gehrmans Musikforlag
(GH.GE-11358).
ISBN
979-0-070-11358-8. A4
inches.
Work
comment by the
composer: The lonely
one was composed during
May and June of the year
2000. It was written for
Annika Gustafsson, to
whom it is also
dedicated. It was
world-premiered on
December 1 the same year
in Caroli Church in
Malmo. After that I had
composed The Threat of
War that was a dramatic
and massive work for
orchestra, I wanted to
focus on melodic as well
as harmonic and
rhyhtmical processes
combined with a inner
dramatic content. In this
case the solo violin
works as a narrator where
the piece itself is like
a monologue without
words. In the score
there are imprinted
expressions like
racontare (tellingly),
piacevole (pleasingly)
och
sospirare(sighing).
The lonely one is divided
in three sections. 1.
Doloroso (Painful) - the
violin plays almost
imperceptly sighing
glissandi that forms the
basic material of the
work. Its character is
constantly searching. It
leads up to the section
Risoluto (Resolute) that
has a very determined and
edgy expression. 2.
Misterioso (Mysteriously)
- the materials from the
previous section are now
further developed. It
builds up and breaks down
during the course of the
journey. Eventually it
reaches a climax on a
high d. 3. Calmando e
espressivo (Calmingly and
expressive) - From the
high d it is stepping
down to a recapture on
material from the first
part slightly changed and
moody character. It dies
out slowly with the
lonely notes.
Composed by Bruce W.
Tippette. Beginning
String Orchestra (BAS).
Full score. With Standard
notation. 8 pages. Carl
Fischer Music #BAS78F.
Published by Carl Fischer
Music (CF.BAS78F).
ISBN 9781491151600.
UPC: 680160909100. 9 x 12
inches.
The imagery
of a lush, green meadow
helps set the stage for
Verdant Meadows. This
simple, yet harmonically
adventurous composition
alternates between legato
melodies and staccato
harmonies. Following a
climactic moment, a
peaceful resolution
hearkens back to earlier
material and ends the
piece with a Maestoso
section. Imagine taking a
gentle stroll through a
lush, green meadow,
filled with wildlife and
vegetation. This imagery
helps set the stage for
the melodic content of
Verdant
Meadows. In the key of
G major (and sometimes E
minor), this simple, yet
harmonically adventurous
composition alternates
between soaring legato
melodies and staccato
harmonies. Following the
broadly climactic moment,
a peaceful resolution
hearkens back to earlier
material and ends the
piece with a wonderful
Maestoso section.
. Imagine taking a
gentle stroll through a
lush, green meadow,
filled with wildlife and
vegetation. A This
imagery helps set the
stage for the melodic
content of
Verdant
Meadows. In the key of
G major (and sometimes E
minor), this simple, yet
harmonically adventurous
composition alternates
between soaring legato
melodies and staccato
harmonies. A Following
the broadly climactic
moment, a peaceful
resolution hearkens back
to earlier material and
ends the piece with a
wonderful Maestoso
section. A
. Imagine taking a
gentle stroll through a
lush, green meadow,
filled with wildlife and
vegetation. A This
imagery helps set the
stage for the melodic
content of
Verdant
Meadows. In the key of
G major (and sometimes E
minor), this simple, yet
harmonically adventurous
composition alternates
between soaring legato
melodies and staccato
harmonies. A Following
the broadly climactic
moment, a peaceful
resolution hearkens back
to earlier material and
ends the piece with a
wonderful Maestoso
section. A
. Imagine taking a
gentle stroll through a
lush, green meadow,
filled with wildlife and
vegetation. This imagery
helps set the stage for
the melodic content of
Verdant
Meadows. In the key of
G major (and sometimes E
minor), this simple, yet
harmonically adventurous
composition alternates
between soaring legato
melodies and staccato
harmonies. Following the
broadly climactic moment,
a peaceful resolution
hearkens back to earlier
material and ends the
piece with a wonderful
Maestoso section.
. Imagine
taking a gentle stroll
through a lush, green
meadow, filled with
wildlife and vegetation.
This imagery helps set
the stage for the melodic
content of Verdant
Meadows. In the key of G
major (and sometimes E
minor), this simple, yet
harmonically adventurous
composition alternates
between soaring legato
melodies and staccato
harmonies. Following the
broadly climactic moment,
a peaceful resolution
hearkens back to earlier
material and ends the
piece with a wonderful
Maestoso
section. Imagine
taking a gentle stroll
through a lush, green
meadow, filled with
wildlife and vegetation.
 This imagery helps
set the stage for the
melodic content of
Verdant Meadows. In the
key of G major (and
sometimes E minor), this
simple, yet harmonically
adventurous composition
alternates between
soaring legato melodies
and staccato harmonies.
 Following the broadly
climactic moment, a
peaceful resolution
hearkens back to earlier
material and ends the
piece with a wonderful
Maestoso section.
 .
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
String Quartet SKU: HL.14008374 Composed by Sir Peter Maxwell Davies. Mus...(+)
String Quartet
SKU:
HL.14008374
Composed
by Sir Peter Maxwell
Davies. Music Sales
America. Classical.
Score. Composed 2006. 24
pages. Chester Music
#CH68629. Published by
Chester Music
(HL.14008374).
ISBN
9781846096150. UPC:
884088435202.
8.25x11.75x0.105
inches.
The Full
Score for Peter Maxwell
Davies' fourth in a
series of ten string
quartets commissioned by
the Naxos Recording
company, first performed
by the Maggini Quartet on
20th August 2004 at the
Chapel of the Royal
Palace, Oslo, Norway, as
part of the Olso Chamber
Music Festival. Composer
Note: The fourth Naxos
quartet was written in
January and February of
2004, with the intention
of producing something
lighter and much less
fierce than its
predecessor, an
unpremeditated and
spontaneous reaction to
the illegal invasion of
Iraq. I returned to the
well-known Brueghel
picture of children's
games (1560, now in
Vienna), which had been
the inspiration for my
sixth Strathclyde
Concerto, for flute and
orchestra. These
illustrations liberated
my musical imagination,
but I feel it would limit
the listener's perception
to be too specific about
which game relates to
exactly which section of
the work. Suffice it to
say that there is
vigorous play -
leap-frog, bind the devil
with a cord, truss,
wrestling - alongside
quieter pastimes - masks,
guess whom I shall
choose, courting, odds
and evens. The single
movement juxtaposes these
activities as abruptly
and intimately as they
occur in Brueghel. Rather
as the eye is taken into
different perspectives
and proportions of scale
within the picture,
taking liberties which
would never be present
in, for instance,
Brunelleschi
architectural drawings,
so here, with a constant
sequence of
transformation processes,
I have distorted the
neat, precise
implications of modal
progression, expressed in
the unison opening phrase
(from F to B through A
sharp/B flat), so that
the ear is led, en route,
into the sound
equivalents of strange
passageways and closed
rooms: sicut exposition
ludus. As work on the
quartet progressed I
became aware that I was
reading into, and behind
the games, adult motives
and implications,
concerning aggression and
war, with their
consequences. It was
impossible to escape into
innocent childhood
fantasy. The nature of
the F to B progression
underlying the whole
construction derives from
a passage in the
development of the first
movement of Mahler's
Third Symphony, and the
opening of Schoenberg's
Second String Quartet.
However, unlike in these
models, here a real - if
temporary - sense of
resolution occurs at the
close of the quartet: as
when the curtain falls on
the reconciled Count and
Countess in 'Figaro' one
wonders how long the F/B
truce will hold, and
games break out again.
The quartet is dedicated
to Giuseppe Rebecchini,
Roman architect, and
friend since the
nineteen-fifties.
Orchestra - Grade 3 SKU: AP.48069 Composed by Rossano Galante. Full Orche...(+)
Orchestra - Grade 3
SKU: AP.48069
Composed by Rossano
Galante. Full Orchestra;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Concert Full
Orchestra. Score and
Part(s). 220 pages.
Duration 5:00. Belwin
Music #00-48069.
Published by Belwin Music
(AP.48069).
ISBN
9781470661922. UPC:
038081554310.
English.
Nostaglia,
by Rossano Galante,
literally means a
sentimental longing or
wistful affection for the
past, typically for a
period or place with
happy personal
associations. This
orchestral setting is
lyrical, joyous, and
ultimately hopeful,
taking the listener to a
place of harmonic bliss.
A strong full orchestra
work for festival or the
concert stage, the
composition incorporates
two melodic themes that
build to a climactic
resolution that utilizes
the full ensemble. This
title is available in
MakeMusic Cloud.
(5:00).
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. 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).
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).
Composed
by Dan Welcher. Spiral.
Large Score. With
Standard notation.
Duration 10 minutes.
Theodore Presser Company
#466-00047. Published by
Theodore Presser Company
(PR.466000470).
UPC:
680160099405. 11 x 17
inches.
This is the
second incarnation of a
work I first composed in
1994 for symphonic wind
ensemble. The earlier
version was intended to
be the summation of
three-part suite, each
part being named for a
different national park
in the Western United
States. This orchestral
version, commissioned in
1999 by the Utah Symphony
and dedicated to the
memory of Aaron Copland,
is more than a re-scoring
of the earlier piece; it
is a re-thinking of all
its elements. Zion is a
place with unrivaled
natural grandeur, being a
sort of huge box canyon
in which the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both his
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of
triumph.