Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Full Score) This publication offers a source-critical edition of Mozart’s fragmentary “Requiem” as well as an alternative to the traditional Süssmayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozart’s idiom taking into account historical additions by Süssmayr and Eybler. When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozart’s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the “Requiem” fragment, is taken into account in those sections requiring completion or fresh composition. At two points readers may choose between alternative movements (or sections), since proceeding from Süssmayr’s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozart’s intentions: the “Lacrimosa” may end with or without “Amen” fugue, and the “Sanctus” may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major “Hosanna” from Süssmayr’s autograph, a movement which, until now, has not been appreciated as compositionally flawless. - Scholarly-critical edition of the “Requiem” fragment - With performance material for presentation of 1) the fragment, 2) a version with completions of the authentic Mozart sections or 3) a full completion consistent with Mozart’s musical idiom - Missing sections were completed by drawing from other fragmentary sacred works by Mozart - Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment - Alternative performance options for the “Lacrimosa”, “Sanctus” and “Benedictus” - Straight-forward piano reduction - Extensive foreword (Ger/Eng) on the work’s history, reception and modern completions, with analytical stylistic critique - Detailed Critical Commentary (Eng), partly available on the Bärenreiter website - Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (“Le Disque classique du jour” from francemusique.fr and three nominations for Opus Klassik 2021 in the categories “Ensemble”, “Choral Recording” and “Editorial Achievement”) - Full Score (BA11310), Vocal Score (BA11310-90) and performance material (BA11310) available for sale / Date parution : 2022-07-20/ Répertoire / Chœur Mixte SATB et Orchestre

James Rae’s “Jazz Ensemble” series was first published in the 1980s and quickly proved very popular. There were six separate titles in the series written for a flexible mixed ensemble, with parts provided for C, Bb, Eb, Bass, Easy Bass and Drums with a supporting piano part in the score. It was and still is ideal for the practical part of GCSE studies, catering as it does for almost any imaginable combination of instruments at an intermediate stage. It has now been given a makeover, with three of the original titles being put into each of two separate volumes, creating great value for money. The parts are now provided as free downloads from our website so you can provide for as large an ensemble as you wish at no extra cost. Inside this volume: “Oh when the Saints”, “Swing low, Sweet Chariot” and “The Camptown Races”. Volume 1 contains the well-known titles “Down by the Riverside”, “Joshua Fought the Battle of Jericho” and “Dry Bones”../ Recueil / Ensemble Flexible

Born in South Africa, but now an Irish citizen, Kevin Volans' musical idiom has been shaped by an unusually diverse range of experiences, including studies with Stockhausen in Cologne, field trips to South Africa to study traditional music, his own involvement with the New Simplicity movement, his collection of contemporary art and African textiles, friendships with composers like Morton Feldman and Gerald Barry, as well as a love of virtuoso piano music which he performs, broadcasts and records. While having an easily recognised, unique voice, Volans' music resists compartmentalisation. He is as comfortable working in conventional genres as embarking on innovative collaborations with artists of other disciplines.String Quartet #1 (White Man Sleeps) was written for the Kronos Quartet and was first performed by them in July 1986, London.The title 'White Man Sleeps' comes from a moment in nyanga Panpipe music where the performers leave off playing their loud pipes for a few cycles and dance only to the sound of their ankle rattles, to let the white landowner sleep - for a minute or two.'In composing this piece I drew from the following sources: the first movement owes something to the style of Basotho concertina music - the second and fourth movements are drawn from traditional Nyungwe music played by Makina Chirenje and his Nyanga panpipe group at Nsava, Tete, Mozambique, recorded and transcribed by Andrew Tracey (to be found in an article entitled 'The nyanga Panpipe dance' in African Music, Vol.5, #1 (1971) - the third movement derives from the San bow music (recorded by Tony Traill of the University of Witwatersrand) and from Basotho lesiba music, transcribed by myself - in the fifth movement I added my own invented folklore. My approach to the original music was anything but purist - it is played in Western tuning, filtered, slowed down by a few 'time-octaves?, cast into non-African metres (like the 13-beat pattern of the first dance) and redistributed between the players in several ways. I also used interlocking techniques where they were absent in the original models and vice versa' - Kevin VolansDuration 24 minutes. Parts available: CH61205. / Quatuor A Cordes (Conducteur)