Solo voices, Mixed choir, Orchestra SKU: BA.BA11971-90 Composed by Wolfga...(+)
Solo voices, Mixed choir,
Orchestra
SKU:
BA.BA11971-90
Composed by Wolfgang
Amadeus Mozart. Edited by
Monika Holl. Arranged by
Andreas Kohs.
Bärenreiter Urtext.
Replaces BA 4880-90.
Piano reduction.
Baerenreiter Verlag
#BA11971-90. Published by
Baerenreiter Verlag
(BA.BA11971-90).
ISBN
9790006578795. 27 x 19 cm
inches.
- Vocal
score based on the New
Mozart Edition - With
an easy-to-play piano
part and spacious
layout - Compatible
with the full score
(BA04880) and performance
material
The
richly orchestrated Missa
in C minor K. 317 was
probably one of the first
church music works that
Mozart composed at the
beginning of 1779 as the
newly appointed Salzburg
court organist. With a
large orchestra, choir
and four soloists, the
composer impressively
demonstrates his skills.
The nickname Coronation
Mass has a long tradition
and is already mentioned
in the first edition of
the Köchel catalogue;
however, it does not go
back to the premiere,
which took place on one
of the Easter holidays in
April 1779. In all
probability, the mass was
performed in 1791 at the
coronation celebrations
in Prague for Leopold II
and â after his
unexpected death â
in 1792 for Franz I under
Antonio
Salieri.
For this
vocal score, Andreas
Köhs has provided an
improved orchestral
reduction which optimally
transfers the
instrumental parts to the
piano while ensuring
playability. The vocal
parts are based on the
Urtext of the New Mozart
Edition.
Dream On, Dream On (Choral Score) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Clavier MorningStar Music Publishers
By Hae Jong Kim and Sun Kyung Lee. Arranged by Michael Burkhardt. For SATB choir...(+)
By Hae Jong Kim and Sun
Kyung Lee. Arranged by
Michael Burkhardt. For
SATB choir adult choir,
SATB youth choir, treble
children's choir, piano
accompaniment, handbells,
wind chimes. General.
Moderately Easy.
Published by MorningStar
Music Publishers (MN.50-
By Michael Burkhardt and Elaine Reitan. Arranged by Michael Burkhardt. For uniso...(+)
By Michael Burkhardt and
Elaine Reitan. Arranged
by Michael Burkhardt. For
unison treble voices,
optional SATB choir,
soloist, Caller, piano
accompaniment,
percussion. General.
Moderately Easy.
Published by MorningStar
Music Publishers
Azione sacra in two parts. Composed by Wolfgang Amadeus Mozart (1756-1791...(+)
Azione sacra in two
parts. Composed by
Wolfgang Amadeus Mozart
(1756-1791). Edited by
Luigi Ferdinando
Tagliavini. This edition:
complete edition, urtext
edition. Linen. New
Mozart Edition. Series I,
Section 4/2.
Kirchenmusik, Klassik
(Sacred, Classical).
Score. KV 118 (74c).
Duration 2 hours, 10
minutes. Published by
Baerenreiter Verlag
(BA.BA4521-01).
Opera in five acts. Composed by Charles Francois Gounod (1818-1893). Edited by...(+)
Opera in five acts.
Composed
by Charles Francois
Gounod
(1818-1893). Edited by
Paul
Prevost. Arranged by
Karl-
Heinz Muller. This
edition:
urtext edition.
Paperback.
Barenreiter Urtext.
Version
with recitatives. Vocal
Score. Baerenreiter
Verlag
#BA08713-90. Published by
Baerenreiter Verlag
Composed
by Johann Sebastian Bach.
Score. Lucks Music
Library #A2501. Published
by Lucks Music Library
(TM.01751SC).
Sandra Dackow
Little Known Gem - Grade
IV+. Ed. by Hoffmann.
This delightful set of
works in the keys of G,
A, and B-flat major takes
full advantage of
multiple stops, chords,
and fiddle writing that
lays easily under the
hand and is fun to play.
The fast movements are
vigorous and the
contrasting slow
movements are not
particularly fussy or
florid, though they
include some
ornamentation. In the
Allegro sections,
musicians should approach
the playing as they would
a work by Haydn or
Mozart: eighth and
quarter notes off the
string and at the frog,
and sixteenth notes on
the string. Stamitz's
players would have
followed the general rule
of the down bow, where
the strong beat would
begin with a down bow. In
Concerto No. 1 in G, the
Violin I parts reach to
sixth position, requiring
high G's. Unusual writing
for its time, these
passages are both logical
and easy for players to
find and hear. Cello and
bass parts reach high F's
on occasion and require
third, fourth and fifth
positions. The second
violin and viola parts do
not require extended
ranges, making this work
practical for an upper
intermediate orchestra.
The slow movements
transition between
different keys and
requires the low strings
to use extension notes
such as G-sharp and
A-sharp.
Composed
by Johann Sebastian Bach.
Set Type: A. Set of
parts. Lucks Music
Library #A2501. Published
by Lucks Music Library
(TM.01751SET).
Sandra Dackow
Little Known Gem - Grade
IV+. Ed. by Hoffmann.
This delightful set of
works in the keys of G,
A, and B-flat major takes
full advantage of
multiple stops, chords,
and fiddle writing that
lays easily under the
hand and is fun to play.
The fast movements are
vigorous and the
contrasting slow
movements are not
particularly fussy or
florid, though they
include some
ornamentation. In the
Allegro sections,
musicians should approach
the playing as they would
a work by Haydn or
Mozart: eighth and
quarter notes off the
string and at the frog,
and sixteenth notes on
the string. Stamitz's
players would have
followed the general rule
of the down bow, where
the strong beat would
begin with a down bow. In
Concerto No. 1 in G, the
Violin I parts reach to
sixth position, requiring
high G's. Unusual writing
for its time, these
passages are both logical
and easy for players to
find and hear. Cello and
bass parts reach high F's
on occasion and require
third, fourth and fifth
positions. The second
violin and viola parts do
not require extended
ranges, making this work
practical for an upper
intermediate orchestra.
The slow movements
transition between
different keys and
requires the low strings
to use extension notes
such as G-sharp and
A-sharp.
Composed by Wolfgang
Amadeus Mozart. Edited by
Michael Ostrzyga. This
edition: urtext edition.
Paperback. New
Completion. Vocal Score.
Baerenreiter Verlag
#BA11310_90. Published by
Baerenreiter Verlag
(BA.BA11310-90).
ISBN
9790006569267. 27 x 19 cm
inches. Text Language:
Latin.
This
publication offers a
source-critical edition
of Mozartâ??s
fragmentary
â??Requiemâ? as well
as an alternative to the
traditional Sü�mayr
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
Mozartâ??s idiom taking
into account historical
additions by Sü�mayr
and Eybler.
When
completing the fragment,
the editor drew on
comprehensive comparative
and analytical studies of
Mozartâ??s church style
and compositional
workmanship. The
influence of Handel and
Bach manifested in his
final years, particularly
in the â??Requiemâ?
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
SüÃ?mayrâ??s
historical version, two
divergent options cannot
be weighed against each
other but each one may
well reflect Mozartâ??s
intentions: the
â??Lacrimosaâ? may
end with or without
â??Amenâ? fugue, and
the â??Sanctusâ? may
begin in the customary D
major or in D minor.
Above all, this makes it
possible to retain the
B-flat major
â??Hosannaâ? from
SüÃ?mayrâ??s
autograph, a movement
which, until now, has not
been appreciated as
compositionally
flawless.
â?¢
Scholarly-critical
edition of the
â??Requiemâ?
fragment â?¢ 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 Mozartâ??s musical
idiom â?¢ Missing
sections were completed
by drawing from other
fragmentary sacred works
by Mozart â?¢ Added
or completed sections
incorporate influences
from Bach and Handel
already detectable in the
fragment â?¢
Alternative performance
options for the
â??Lacrimosaâ?,
â??Sanctusâ? and
â??Benedictusâ? â
?¢ Easy-to-play piano
reduction â?¢
Extensive foreword
(Ger/Eng) on the
workâ??s history,
reception and modern
completions, with
analytical stylistic
critique â?¢
Detailed Critical
Commentary (Eng), partly
available on the
Bärenreiter
website â?¢ 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 (â??Le Disque
classique du jourâ?
from francemusique.fr and
three nominations for
Opus Klassik 2021 in the
categories
â??Ensembleâ?,
â??Choral Recordingâ?
and â??Editorial
Achievementâ?)
A German Requiem Op. 45 Soli, choeur mixte et accompagnement [Conducteur] Breitkopf & Härtel
Solo voices, choir, 2 pianos, timpani With timpani part. Composed by Johannes ...(+)
Solo voices, choir, 2
pianos,
timpani
With timpani part.
Composed
by Johannes Brahms (1833-
1897). Edited by Heinrich
Poos. Arranged by
Heinrich
Poos. Score. Breitkopf
and
Haertel #PB 5697.
Published
by Breitkopf and Haertel