(K. 366, 384, 492, 527, 588, 620, 621). By Wolfgang Amadeus Mozart (1756-1791). ...(+)
(K. 366, 384, 492, 527,
588, 620, 621). By
Wolfgang Amadeus Mozart
(1756-1791). This
edition: Urtext. Set of 7
study scores. 3642 pages.
Published by Baerenreiter
Verlag
(Music, Movement and More! The Music Magazine for Grades K-6). Composed by Kris ...(+)
(Music, Movement and
More! The Music Magazine
for Grades K-6). Composed
by Kris Kropff. For
unison choir, Orff
Instrument. Games and CD.
Published by Heritage
Music Press
Violin and Cello SKU: VD.ED11420 Unter Benutzung der Sonaten K 9, K 64...(+)
Violin and Cello
SKU:
VD.ED11420
Unter
Benutzung der Sonaten K
9, K 64, K 32 und K
516. Composed by
Domenico Scarlatti.
Arranged by Wolfgang
Birtel. Classical.
Playing score. 10 + 8 S.
pages. Verlag Dohr
#ED11420. Published by
Verlag Dohr (VD.ED11420).
Orchestra (Orchestra) SKU: BA.BA04555-02 Composed by Wolfgang Amadeus Moz...(+)
Orchestra (Orchestra)
SKU: BA.BA04555-02
Composed by Wolfgang
Amadeus Mozart. Edited by
Günter Haußwald and
Wolfgang Plath. This
edition: complete
edition, urtext edition.
Half-leather binding. New
Mozart Edition (NMA)
IV/12/1. Complete
edition, Score,
anthology. K. 63, K. 99
863a), K. 62, K. 100
(62a). Baerenreiter
Verlag #BA04555_02.
Published by Baerenreiter
Verlag (BA.BA04555-02).
ISBN 9790006547159. 34
x 27 cm inches. Preface:
Haußwald, Günter /
Plath,
Wolfgang.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Guitar and voice SKU: M7.GRG-5300437100 201 Kölsche Hits der Blä...(+)
Guitar and voice
SKU:
M7.GRG-5300437100
201 Kölsche Hits
der Bläck
Fööss. Arranged
by Franz-Martin Willizil.
This edition: Ring/Spiral
binding. Sheet music.
Songbook. 248 pages. De
Bläck Fööss
Verlag #GRG 5300437100.
Published by De Bläck
Fööss Verlag
(M7.GRG-5300437100).
ISBN 9783872523631.
German
Kölsch.
Liederbu
ch fu?r Gitarre & Stimme
201
Bläck-Fööss-Hits
mit allen Texten und
Akkorden, die sich zum
einfachen Singen mit
Gitarre am Lagerfeuer
oder zu weiteren
geselligen Anlässen
eignen. Mit
Akkordtabelle. Ohne
Noten.
Guitar and voice SKU: M7.GRG-5300438101 201 Kölsche Hits der Blä...(+)
Guitar and voice
SKU:
M7.GRG-5300438101
201 Kölsche Hits
der Bläck
Fööss. Arranged
by Franz-Martin Willizil.
This edition: Ring/Spiral
binding. Sheet music with
DVD. Songbook. 248 pages.
De Bläck Fööss
Verlag #GRG 5300438101.
Published by De Bläck
Fööss Verlag
(M7.GRG-5300438101).
ISBN 9783872523686.
German
Kölsch.
Liederbu
ch fu?r Gitarre & Stimme
201
Bläck-Fööss-Hits
mit allen Texten und
Akkorden, die sich zum
einfachen Singen mit
Gitarre am Lagerfeuer
oder zu weiteren
geselligen Anlässen
eignen. Mit
Akkordtabelle. Ohne
Noten. Mit PC-DVD: mit
Hörproben aller Lieder
- eingesungen nur mit
einer Gitarre von
Bömmel, Erry, Kafi und
Peter mit einem kurzen
Kommentar. Intro, Vers
und Refrain.
Flute and Piano. By Wolfgang Amadeus Mozart. Arranged by Louis Moyse. (Flute). ...(+)
Flute and Piano. By
Wolfgang Amadeus Mozart.
Arranged by Louis Moyse.
(Flute). Woodwind Solo.
Size 9x12 inches. 68
pages. Published by G.
Schirmer, Inc.
Piano, guitar and voice SKU: M7.GRG-106293100 Kneipenhits der Sessione...(+)
Piano, guitar and voice
SKU:
M7.GRG-106293100
Kneipenhits der
Sessionen. Arranged
by Peter Wondra. This
edition: Klebebindung.
Sheet music. Songbook.
144 pages. Edition
Melodia #GRG 106293100.
Published by Edition
Melodia
(M7.GRG-106293100).
ISBN 9783872523815.
German
Kölsch.
Eine
Auswahl der 24 besten
Kölschen Kneipenhits
der Sessionen. Alle Noten
und Texte bearbeitet fu?r
Klavier, Gitarre und
Gesang.
(KV 207, 211, 216, 218, 219, 261, 269 (261a), 373). Composed by Wolfgang Amadeus...(+)
(KV 207, 211, 216, 218,
219, 261, 269 (261a),
373). Composed by
Wolfgang Amadeus Mozart
(1756-1791). For solo
violin and orchestra.
This edition: Urtext
edition. Paperback. Study
score, Anthology. Text
Language: German/English.
KV 207, 211, 216, 218,
219, 261, 269 (261a),
373. Published by
Baerenreiter Verlag
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.
Basso (cello/double bass)
(2.2.2.2 - 2.2.0.0 - timp
- str)
SKU:
BR.OB-5373-26
Hafner Music: Hafner
Symphony with March in D
major K. 408/2 (385a) -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Henrik Wiese.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Dances/marches;
Classical. Part. 12
pages. Duration 20'.
Breitkopf and Haertel #OB
5373-26. Published by
Breitkopf and Haertel
(BR.OB-5373-26).
ISBN
9790004341032. 10 x 12.5
inches.
Wolfgang
Amadeus Mozart wrote his
Hafner Symphony K. 385 in
the summer of 1782 on the
occasion of the elevation
into the nobility of his
friend and patron Sigmund
Hafner. Next to the
well-known movements,
this version (A) also
contained the March K.
408/2 (385a) and possibly
a second, no longer
extant minuet. Called
Hafner=Musique by Mozart,
the work was
unquestionably a serenade
at first. In early 1783
Mozart then reduced the
Hafner Music for his
subscription concert at
the Vienna Burgtheater on
23 March 1783 to a
four-movement symphony.
This is the form in which
the work was first
printed in 1785 (Version
B). For a further
performance, Mozart added
flute and clarinet parts
to the symphony. In 1805,
this version (C) was
published by Andre in
Offenbach, who thus began
making it known.The
primary sources of the
present Breitkopf Urtext
edition are the
autographs to K. 385 and
K. 408/2 (385a). It thus
becomes possible for the
first time to play all
three versions of the
Hafner Music, since the
variants of Versions A
and B can be easily
discerned through
indications in footnotes
and notes in small
print.
Hafner Music: Hafner
Symphony with March in D
major K. 408/2 (385a) -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Henrik Wiese.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Dances/marches;
Classical. Part. 12
pages. Duration 20'.
Breitkopf and Haertel #OB
5373-16. Published by
Breitkopf and Haertel
(BR.OB-5373-16).
ISBN
9790004341018. 10 x 12.5
inches.
Wolfgang
Amadeus Mozart wrote his
Hafner Symphony K. 385 in
the summer of 1782 on the
occasion of the elevation
into the nobility of his
friend and patron Sigmund
Hafner. Next to the
well-known movements,
this version (A) also
contained the March K.
408/2 (385a) and possibly
a second, no longer
extant minuet. Called
Hafner=Musique by Mozart,
the work was
unquestionably a serenade
at first. In early 1783
Mozart then reduced the
Hafner Music for his
subscription concert at
the Vienna Burgtheater on
23 March 1783 to a
four-movement symphony.
This is the form in which
the work was first
printed in 1785 (Version
B). For a further
performance, Mozart added
flute and clarinet parts
to the symphony. In 1805,
this version (C) was
published by Andre in
Offenbach, who thus began
making it known.The
primary sources of the
present Breitkopf Urtext
edition are the
autographs to K. 385 and
K. 408/2 (385a). It thus
becomes possible for the
first time to play all
three versions of the
Hafner Music, since the
variants of Versions A
and B can be easily
discerned through
indications in footnotes
and notes in small
print.
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.
Hafner Music: Hafner
Symphony with March in D
major K. 408/2 (385a) -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Henrik Wiese.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Symphony; Dances/marches;
Classical. Part. 12
pages. Duration 20'.
Breitkopf and Haertel #OB
5373-19. Published by
Breitkopf and Haertel
(BR.OB-5373-19).
ISBN
9790004341025. 10 x 12.5
inches.
Wolfgang
Amadeus Mozart wrote his
Hafner Symphony K. 385 in
the summer of 1782 on the
occasion of the elevation
into the nobility of his
friend and patron Sigmund
Hafner. Next to the
well-known movements,
this version (A) also
contained the March K.
408/2 (385a) and possibly
a second, no longer
extant minuet. Called
Hafner=Musique by Mozart,
the work was
unquestionably a serenade
at first. In early 1783
Mozart then reduced the
Hafner Music for his
subscription concert at
the Vienna Burgtheater on
23 March 1783 to a
four-movement symphony.
This is the form in which
the work was first
printed in 1785 (Version
B). For a further
performance, Mozart added
flute and clarinet parts
to the symphony. In 1805,
this version (C) was
published by Andre in
Offenbach, who thus began
making it known.The
primary sources of the
present Breitkopf Urtext
edition are the
autographs to K. 385 and
K. 408/2 (385a). It thus
becomes possible for the
first time to play all
three versions of the
Hafner Music, since the
variants of Versions A
and B can be easily
discerned through
indications in footnotes
and notes in small
print.