Dramma per musica in
three Acts. Composed
by Wolfgang Amadeus
Mozart. Edited by
Kathleen Kuzmick Hansell.
This edition: complete
edition, urtext edition.
Linen. Edition in 2
volumes. Complete
edition, Score. K. 135.
Duration 4 hours.
Baerenreiter Verlag
#BA04590_01. Published by
Baerenreiter Verlag
(BA.BA04590-01).
ISBN
9790006451296. 33 x 26 cm
inches. Text Language:
Italian. Text: Giovanni
de Gamerra.
On 13
December 1769 Leopold
Mozart and his son
Wolfgang set out on their
first tour of Italy. It
was not until 28 March
1771 that they finally
returned to Salzburg. The
trip brought the young
composer two commissions
for opere serie. In March
1770 he was commissioned
to write Mitridate, K.87
(74a), for the 1770-71
Carneval season at the
Regio Ducal Teatro in
Milan. Mozart started
work on the opera in
Bologna on 29 September
1770, and the premiere
duly took place on the
Feast of St. Stephen (26
December) in 1770. The
second, Lucio Silla (K.
135), again commissioned
for the 1771-72 Carneval
season in Milan,
doubtless resulted from
the success of Mitridate.
News of the commission
reached the Mozarts in
March 1771 in Verona,
where they had stopped on
their return to Salzburg.
(At roughly the same time
Wolfgang received an
invitation from Vienna to
supply a serenata
teatrale for the wedding
of Archduke Ferdinand,
the third son of Maria
Theresia, scheduled to
take place in Milan in
October 1771. This
invitation ultimately
resulted in Ascanio in
Alba, K. 111.)
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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.
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. Single Part, Organ.
Composed circa 1758-1760.
MH 15. 24 pages. Duration
30 minutes. Carus Verlag
#CV 50.305/49. Published
by Carus Verlag
(CA.5030549).
ISBN
9790007223762. 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
part available separately
- see item
CA.5030500.
(2.2.2.2/4.2.3.0,timp,str ,T sol) SKU: TM.02410SC Composed by Peter Illic...(+)
(2.2.2.2/4.2.3.0,timp,str
,T sol)
SKU:
TM.02410SC
Composed
by Peter Illich
Tschaikowsky. Score.
Lucks Music Library
#A3801. Published by
Lucks Music Library
(TM.02410SC).
Aria from Act
II - No. 17 sc pg
357-371. Key of e.
Russian: Kuda, Kuda vi
udalilis. English: Where,
oh where have you gone.
Saretzki (Bass) in recit.
See #14183 for Lenski's
Aria from Act I.
(2.2.2.2/4.2.3.0,timp,str ,T sol) SKU: TM.02410SET Composed by Peter Illi...(+)
(2.2.2.2/4.2.3.0,timp,str
,T sol)
SKU:
TM.02410SET
Composed
by Peter Illich
Tschaikowsky. Set Type:
D. Set of parts. Lucks
Music Library #A3801.
Published by Lucks Music
Library (TM.02410SET).
Aria from Act
II - No. 17 sc pg
357-371. Key of e.
Russian: Kuda, Kuda vi
udalilis. English: Where,
oh where have you gone.
Saretzki (Bass) in recit.
See #14183 for Lenski's
Aria from Act I.
(2.2.2.2/4.2.3.1,timp,per c,banda,str) SKU: TM.14459SET Composed by Vince...(+)
(2.2.2.2/4.2.3.1,timp,per
c,banda,str)
SKU:
TM.14459SET
Composed
by Vincenzo Bellini. Set
Type: D. Set of parts.
Published by Lucks Music
Library (TM.14459SET).
No. 13 (Aria
No. 10). Banda =
1+1.0.3.0/3.3.3.0,perc,db
. Banda sc in set.
Includes Qual cor, qual
cor tradisti and Deh! Non
vollerli vittime. Sc pgs
388-429.
(2.2.2.2/4.2.3.1,timp,per c,banda,str) SKU: TM.14459SC Composed by Vincen...(+)
(2.2.2.2/4.2.3.1,timp,per
c,banda,str)
SKU:
TM.14459SC
Composed
by Vincenzo Bellini.
Score. Published by Lucks
Music Library
(TM.14459SC).
No. 13 (Aria
No. 10). Banda =
1+1.0.3.0/3.3.3.0,perc,db
. Banda sc in set.
Includes Qual cor, qual
cor tradisti and Deh! Non
vollerli vittime. Sc pgs
388-429.
