Composed by Wolfgang Amadeus Mozart (1756-1791). With Standard notation. Wiener ...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791). With
Standard notation. Wiener
Urtext/Vienna Urtext
#UT50008. Published by
Wiener Urtext/Vienna
Urtext
Composed by Michael Haydn (1737-1806). Edited by Otto Biba. Sacred music of the ...(+)
Composed by Michael Haydn
(1737-1806). Edited by
Otto Biba. Sacred music
of the Vienna classic.
German title: Missa Sti
Gabrielis Mh 17 1000501.
Sacred vocal music.
Orchestral Parts.
Composed 1760/1768. MH.
Carus Verlag #CV
91.009/19. Published by
Carus Verlag
(CA.9100919).
Messa
delle Benedicenza.
Composed by Michael
Haydn. Edited by Josef
Friedrich Doppelbauer.
This edition: Paperbound.
Sacred music of the
Vienna classic. Missa Sti
Dominici Mh 419 1000401.
Sacred vocal music. Vocal
score. Composed 1786. MH
419. 44 pages. Carus
Verlag #CV 91.008/03.
Published by Carus Verlag
(CA.9100803).
ISBN
9790007094706. Key: C
major. Language:
Latin.
The masses
of Johann Michael Haydn
are masterworks in the
church music repertoire
and they were widely
appreciated during his
lifetime, as is proved by
the many copies made of
them. The Missa Sancti
Dominici belongs, through
its mooring with trumpets
and drums, in the
category of the missa
solemnis. It also owes
its tonal splendour
partly to the richness of
its compositional
process, marked by
sometimes rapid
alternation between
choral and solo passages.
This is a richly
rewarding, fascinating
work for accomplished
choirs to perform, not
only at festive services.
Score available
separately - see item
CA.9100800.
Messa
delle Benedicenza.
Composed by Michael
Haydn. Edited by Josef
Friedrich Doppelbauer.
Sacred music of the
Vienna classic. Missa Sti
Dominici Mh 419 1000401.
Sacred vocal music.
Single Part, Violin 1.
Composed 1786. MH 419. 12
pages. Carus Verlag #CV
91.008/11. Published by
Carus Verlag
(CA.9100811).
ISBN
9790007230005. Key: C
major. Language:
Latin.
The masses
of Johann Michael Haydn
are masterworks in the
church music repertoire
and they were widely
appreciated during his
lifetime, as is proved by
the many copies made of
them. The Missa Sancti
Dominici belongs, through
its mooring with trumpets
and drums, in the
category of the missa
solemnis. It also owes
its tonal splendour
partly to the richness of
its compositional
process, marked by
sometimes rapid
alternation between
choral and solo passages.
This is a richly
rewarding, fascinating
work for accomplished
choirs to perform, not
only at festive services.
Score and part available
separately - see item
CA.9100800.
Messa
delle Benedicenza.
Composed by Michael
Haydn. Edited by Josef
Friedrich Doppelbauer.
Sacred music of the
Vienna classic. Missa Sti
Dominici Mh 419 1000401.
Sacred vocal music.
Choral Score. Composed
1786. MH 419. 16 pages.
Carus Verlag #CV
91.008/05. Published by
Carus Verlag
(CA.9100805).
ISBN
9790007113759. Key: C
major. Language:
Latin.
The masses
of Johann Michael Haydn
are masterworks in the
church music repertoire
and they were widely
appreciated during his
lifetime, as is proved by
the many copies made of
them. The Missa Sancti
Dominici belongs, through
its mooring with trumpets
and drums, in the
category of the missa
solemnis. It also owes
its tonal splendour
partly to the richness of
its compositional
process, marked by
sometimes rapid
alternation between
choral and solo passages.
This is a richly
rewarding, fascinating
work for accomplished
choirs to perform, not
only at festive services.
Score available
separately - see item
CA.9100800.
Messa
delle Benedicenza.
Composed by Michael
Haydn. Edited by Josef
Friedrich Doppelbauer.
This edition: Paperbound.
Sacred music of the
Vienna classic. German
title: Missa Sti Dominici
Mh 419 1000401. Sacred
vocal music. Full score.
Composed 1786. MH 419. 60
pages. Carus Verlag #CV
91.008/00. Published by
Carus Verlag
(CA.9100800).
ISBN
9790007113735. Key: C
major. Language:
Latin.
The masses
of Johann Michael Haydn
are masterworks in the
church music repertoire
and they were widely
appreciated during his
lifetime, as is proved by
the many copies made of
them. The Missa Sancti
Dominici belongs, through
its mooring with trumpets
and drums, in the
category of the missa
solemnis. It also owes
its tonal splendour
partly to the richness of
its compositional
process, marked by
sometimes rapid
alternation between
choral and solo passages.
This is a richly
rewarding, fascinating
work for accomplished
choirs to perform, not
only at festive
services.
Messa
delle Benedicenza.
Composed by Michael
Haydn. Edited by Josef
Friedrich Doppelbauer.
Sacred music of the
Vienna classic. Missa Sti
Dominici Mh 419 1000401.
Sacred vocal music.
Single Part, basso
continuo. Composed 1786.
MH 419. 12 pages. Carus
Verlag #CV 91.008/13.
Published by Carus Verlag
(CA.9100813).
ISBN
9790007230029. Key: C
major. Language:
Latin.
The masses
of Johann Michael Haydn
are masterworks in the
church music repertoire
and they were widely
appreciated during his
lifetime, as is proved by
the many copies made of
them. The Missa Sancti
Dominici belongs, through
its mooring with trumpets
and drums, in the
category of the missa
solemnis. It also owes
its tonal splendour
partly to the richness of
its compositional
process, marked by
sometimes rapid
alternation between
choral and solo passages.
This is a richly
rewarding, fascinating
work for accomplished
choirs to perform, not
only at festive services.
Score and part available
separately - see item
CA.9100800.
Messa
delle Benedicenza.
Composed by Michael
Haydn. Edited by Josef
Friedrich Doppelbauer.
Sacred music of the
Vienna classic. Missa Sti
Dominici Mh 419 1000401.
Sacred vocal music.
Single Part, Violin 2.
Composed 1786. MH 419. 12
pages. Carus Verlag #CV
91.008/12. Published by
Carus Verlag
(CA.9100812).
ISBN
9790007230012. Key: C
major. Language:
Latin.
The masses
of Johann Michael Haydn
are masterworks in the
church music repertoire
and they were widely
appreciated during his
lifetime, as is proved by
the many copies made of
them. The Missa Sancti
Dominici belongs, through
its mooring with trumpets
and drums, in the
category of the missa
solemnis. It also owes
its tonal splendour
partly to the richness of
its compositional
process, marked by
sometimes rapid
alternation between
choral and solo passages.
This is a richly
rewarding, fascinating
work for accomplished
choirs to perform, not
only at festive services.
Score and part available
separately - see item
CA.9100800.
SATB choir SKU: CA.9100705 Composed by Antonio Salieri. Edited by Otto Bi...(+)
SATB choir
SKU:
CA.9100705
Composed
by Antonio Salieri.
Edited by Otto Biba.
Sacred music of the
Vienna classic. Missa
Stylo A Cappella 1000301.
Sacred vocal music.
Choral Score. Composed
1767. 24 pages. Carus
Verlag #CV 91.007/05.
Published by Carus Verlag
(CA.9100705).
ISBN
9790007113728. Language:
Latin.
Along with
his work as an opera
composer, Salieri also
wrote church music,
almost exclusively for
the Imperial Court Chapel
in Vienna. The Missa
Stylo a cappela written
in 1767 is one of
Salieri's early works.
Respite his youth,
Salieri proved that he
had completely mastered
strict contrapuntal
construction and the old
vocal style. This Mass is
also suitable for concert
performances, especially
during Advent and Lent.
Score available
separately - see item
CA.9100700.
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt.
Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a...
Chorus (with soloists) and piano (solos: SATB - choir: SATB - 0.2.0.0. - 0.4.3.0...(+)
Chorus (with soloists)
and piano (solos: SATB -
choir: SATB - 0.2.0.0. -
0.4.3.0. - timp - org -
str)
SKU:
BR.EB-8060
Waisenhaus-Messe.
Composed by Wolfgang
Amadeus Mozart. Edited by
Ulrich Haverkampf.
Arranged by Ulrich
Haverkampf. Choir;
Softbound. Edition
Breitkopf. Mass;
Classical. Piano/Vocal
Score. 116 pages.
Duration 30'. Breitkopf
and Haertel #EB 8060.
Published by Breitkopf
and Haertel (BR.EB-8060).
ISBN 9790004174470.
7.5 x 10.5
inches.
Wolfgang
Amadeus Mozart wrote the
present Missa solemnis in
C minor K. 139 (47a) in
the fall of 1768 in
Vienna, where the
Waisenhaus church on the
Rennweg was consecrated
on 7 December 1768.
Together with the Missa
brevis in G K. 49 (47d)
written at about the same
time the work is one of
the first Mass settings
of the then 12-year-old
composer. The first
editions of both Masses
were published by
Breitkopf & Hartel in
1877 within the Complete
Edition Wolfgang Amadeus
Mozarts Werke.
Composed
by Michael Haydn. Edited
by Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa Sti Michaelis Auch
Org Mh 12. Sacred
concertos, Masses, Latin.
Full score. Composed 1758
(cavor). MH 12. 40 pages.
Duration 12 minutes.
Carus Verlag #CV
54.012/00. Published by
Carus Verlag
(CA.5401200).
ISBN
9790007166397. Text
language:
Latin.
Johann
Michael Haydn's masses
are masterpieces of their
genre. Carus is
publishing these
important works in Urtext
editions. Of the thirty
masses, almost two thirds
contain a saint's name as
part of their title. The
names relate to the
dedications of
monasteries or parish
churches, name days,
ordinations or
consecrations, diocesan
patron saints, or
anniversaries. Three
masses with the names of
Archangels survive
(Michael, Gabriel, and
Raphael), all early
compositions by Haydn in
the concise Missa Brevis
form. He probably
composed the
Michaelsmesse MH 12 in
Vienna before 1758. This
mass belongs to the
festive type brevis et
solemnis because of its
scoring with two
trumpets.
TTB vocal soli, TTB choir, organ SKU: CA.4083200 Composed by Franz von Su...(+)
TTB vocal soli, TTB
choir, organ
SKU:
CA.4083200
Composed
by Franz von Suppe.
Edited by Rainer Boss.
This edition: Paperbound.
Sacred vocal music, Mass,
latin. German title:
Missa Dalmatica. Sacred
vocal music, Masses,
Latin. Full score.
Composed 1879. Duration
45 minutes. Carus Verlag
#CV 40.832/00. Published
by Carus Verlag
(CA.4083200).
ISBN
9790007017781. Key: F
major. Language:
Latin.
In addition
to the Requiem, the Missa
Dalmatica, which was
first composed in 1835
and revised in 1876,
offers further proof of
the remarkable sacred
music composed by the
famous composer of
operettas, Franz von
Suppe. He dedicated the
Mass to his Dalmatian
homeland. In this Mass
for three-voiced men's
choir and organ, which in
his unmistakable personal
style combined the most
varied influences of the
tradition of church
music, Italian and German
opera, as well as the
folk idioms of Vienna and
Dalmatia, Suppe created
an attractive and unique
work which has earned a
special place in the
history of 19th century
church music.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Mass; Classical. Part.
Composed 1780. 12 pages.
Duration 20'. Breitkopf
and Haertel #OB 5329-16.
Published by Breitkopf
and Haertel
(BR.OB-5329-16).
ISBN
9790004333549. 10 x 12.5
inches.
According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998.
Waisenhaus-Messe.
Composed by Wolfgang
Amadeus Mozart. Stapled.
Chor-Bibliothek (Choral
Library). Mass;
Classical. Choral score.
56 pages. Duration 30'.
Breitkopf and Haertel
#ChB 5140-02. Published
by Breitkopf and Haertel
(BR.CHB-5140-02).
ISBN
9790004410660. 7.5 x 10.5
inches.
Wolfgang
Amadeus Mozart wrote the
present Missa solemnis in
C minor K. 139 (47a) in
the fall of 1768 in
Vienna, where the
Waisenhaus church on the
Rennweg was consecrated
on 7 December 1768.
Together with the Missa
brevis in G K. 49 (47d)
written at about the same
time the work is one of
the first Mass settings
of the then 12-year-old
composer.The first
editions of both Masses
were published by
Breitkopf & Hartel in
1877 within the Complete
Edition Wolfgang Amadeus
Mozarts Werke.
Composed by Michael
Haydn. Edited by Charles
H. Sherman. This edition:
urtext. Stuttgart Urtext
Edition: Johann Michael
Haydn. Missa
Beatiss.Virginis Mariae
Mh 15. Sacred vocal
music, Masses, Latin,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Set of Orchestra
Parts. Composed circa
1758-1760. MH 15.
Duration 30 minutes.
Carus Verlag #CV
50.305/19. Published by
Carus Verlag
(CA.5030519).
ISBN
9790007145477. Key: C
major. Language:
Latin.
The Missa
Beatissimae Virginis
Maria was composed ca.
1758-1760, between the
end of his tenure as a
singer in the choir of
St. Stephen's in Vienna
and the beginning of his
first position as
violinist and music
director for the Bishop
of Grosswardein. The
scoring of SATB (for soli
as well as choir) and
church trio was augmented
by two trumpets (clarini)
and timpani, as well as
two trombones. The latter
instruments double the
alto and tenor voices in
tutti passages but in the
Et incarnatus est they
are also employed in an
obbligato role. On the
one hand, as an early
work this Mass is in the
style of the festive
baroque tradition, as
practiced in south-German
regions until the middle
of the eighteenth
century; on the other
hand it already shows the
subjective inspiration
which distinguished it
from many of the mass
settings by Haydn's
contemporaries. Score and
parts available
separately - see item
CA.5030500.
SATB Choir, 2 Ctr, 2 Vl, Bc SKU: CA.5401219 Composed by Michael Haydn. Ed...(+)
SATB Choir, 2 Ctr, 2 Vl,
Bc
SKU: CA.5401219
Composed by Michael
Haydn. Edited by Armin
Kircher. Stuttgart Urtext
Edition: Johann Michael
Haydn. Missa Sti
Michaelis Auch Org Mh 12.
Sacred concertos, Masses,
Latin. Set of Orchestra
Parts. Composed 1758
(cavor). MH 12. Duration
12 minutes. Carus Verlag
#CV 54.012/19. Published
by Carus Verlag
(CA.5401219).
ISBN
9790007182076. Language:
Latin.
Johann
Michael Haydn's masses
are masterpieces of their
genre. Carus is
publishing these
important works in Urtext
editions. Of the thirty
masses, almost two thirds
contain a saint's name as
part of their title. The
names relate to the
dedications of
monasteries or parish
churches, name days,
ordinations or
consecrations, diocesan
patron saints, or
anniversaries. Three
masses with the names of
Archangels survive
(Michael, Gabriel, and
Raphael), all early
compositions by Haydn in
the concise Missa Brevis
form. He probably
composed the
Michaelsmesse MH 12 in
Vienna before 1758. This
mass belongs to the
festive type brevis et
solemnis because of its
scoring with two
trumpets. Score and parts
available separately -
see item CA.5401200.
SATB Choir, 2 Ctr, 2 Vl, Bc SKU: CA.5401211 Composed by Michael Haydn. Ed...(+)
SATB Choir, 2 Ctr, 2 Vl,
Bc
SKU: CA.5401211
Composed by Michael
Haydn. Edited by Armin
Kircher. Stuttgart Urtext
Edition: Johann Michael
Haydn. Missa Sti
Michaelis Auch Org Mh 12.
Sacred concertos, Masses,
Latin. Single Part, 2
Violins. Composed 1758
(cavor). MH 12. 8 pages.
Duration 12 minutes.
Carus Verlag #CV
54.012/11. Published by
Carus Verlag
(CA.5401211).
ISBN
9790007225834. Language:
Latin.
Johann
Michael Haydn's masses
are masterpieces of their
genre. Carus is
publishing these
important works in Urtext
editions. Of the thirty
masses, almost two thirds
contain a saint's name as
part of their title. The
names relate to the
dedications of
monasteries or parish
churches, name days,
ordinations or
consecrations, diocesan
patron saints, or
anniversaries. Three
masses with the names of
Archangels survive
(Michael, Gabriel, and
Raphael), all early
compositions by Haydn in
the concise Missa Brevis
form. He probably
composed the
Michaelsmesse MH 12 in
Vienna before 1758. This
mass belongs to the
festive type brevis et
solemnis because of its
scoring with two
trumpets. Score and part
available separately -
see item CA.5401200.
Chorus (with soloists)
and orchestra (solos:
SATB - choir: SATB -
0.2.0.0. - 0.4.3.0. -
timp - org - str)
SKU:
BR.PB-5067
Waisenhaus-Messe.
Composed by Wolfgang
Amadeus Mozart. Choir;
Softbound.
Partitur-Bibliothek
(Score Library). Mass;
Classical. Full score. 66
pages. Duration 30'.
Breitkopf and Haertel #PB
5067. Published by
Breitkopf and Haertel
(BR.PB-5067).
ISBN
9790004208182. 9 x 12
inches.
Wolfgang
Amadeus Mozart wrote the
present Missa solemnis in
C minor K. 139 (47a) in
the fall of 1768 in
Vienna, where the
Waisenhaus church on the
Rennweg was consecrated
on 7 December 1768.
Together with the Missa
brevis in G K. 49 (47d)
written at about the same
time the work is one of
the first Mass settings
of the then 12-year-old
composer.The first
editions of both Masses
were published by
Breitkopf & Hartel in
1877 within the Complete
Edition Wolfgang Amadeus
Mozarts Werke.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Chor-Bibliothek (Choral
Library). Mass;
Classical. Choral score.
Composed 1780. 44 pages.
Duration 20'. Breitkopf
and Haertel #ChB 5289-02.
Published by Breitkopf
and Haertel
(BR.CHB-5289-02).
ISBN
9790004412046. 7.5 x 10.5
inches.
According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Choir; Softbound.
Partitur-Bibliothek
(Score Library). Mass;
Classical. Full score.
Composed 1780. 68 pages.
Duration 20'. Breitkopf
and Haertel #PB 5329.
Published by Breitkopf
and Haertel (BR.PB-5329).
ISBN 9790004210420. 10
x 12.5
inches.
According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998.