Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

2 Solo Sopranos, 2 Solo Altos, 3 Solo Tenors, 2 Solo Basses, Mixed Choir and Orchestra. Par MONTEVERDI CLAUDIO. Scholarly-critical Urtext edition orientated towards performance practice. Detailed critical commentary (Eng) in the full score. Movements 10, 13 and 14 are included in their original high clef in the appendix of the full score. These movements are also available with Piano reduction as print-on-demand. Claudio Monteverdi’s “Vespro della Beata Vergine” is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in its entirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under thedirection of the Monteverdi specialist Hendrik Schulze. The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “Lauda Jerusalem” oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books. These new musical and performance practice insights make a modern interpretation of this 400-year-old work possible. Full score & performance material available for sale./ Répertoire / 2 Solo Sopranos/3 Solo Ténors/2 Solo Basses/Orches

Requiem. Par SUPPE FRANZ VON. Franz Suppè wrote his Requiem not as a humanistic or pantheistic lament for the dead, but as a work created on the basis of firm Christian and Catholic faith. The fact that Suppè succeeded in writing a Requiem which remains within the theological-liturgical bounds without sacrificing the values of an autonomous work of art is perhaps the greatest - although hitherto unrecognized- achievement of this work. / Requiem / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Requiem. Par SUPPE FRANZ VON. Franz Suppè wrote his Requiem not as a humanistic or pantheistic lament for the dead, but as a work created on the basis of firm Christian and Catholic faith. The fact that Suppè succeeded in writing a Requiem which remains within the theological-liturgical bounds without sacrificing the values of an autonomous work of art is perhaps the greatest - although hitherto unrecognized- achievement of this work. / Requiem / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Requiem. Par SUPPE FRANZ VON. Franz Suppè wrote his Requiem not as a humanistic or pantheistic lament for the dead, but as a work created on the basis of firm Christian and Catholic faith. The fact that Suppè succeeded in writing a Requiem which remains within the theological-liturgical bounds without sacrificing the values of an autonomous work of art is perhaps the greatest - although hitherto unrecognized- achievement of this work. / Requiem / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Requiem. Par SUPPE FRANZ VON. Franz Suppè wrote his Requiem not as a humanistic or pantheistic lament for the dead, but as a work created on the basis of firm Christian and Catholic faith. The fact that Suppè succeeded in writing a Requiem which remains within the theological-liturgical bounds without sacrificing the values of an autonomous work of art is perhaps the greatest - although hitherto unrecognized- achievement of this work. / Requiem / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

In spite of the most enthusiastic reception at the work's premiere, the famous pianist and conductor Hans von Bülow criticized Verdi's Messa da Requiem as 'an opera in ecclesiastical robes?. Nonetheless, or maybe precisely for this quality, the work has conquered concert podiums worldwide.For this scholarly-critical edition, the editor has consulted no less than 16 sources, many more than were ever used for any other edition of the Requiem - some of these sources were never evaluated before and one source, a hand-written vocal score, particularly relevant to the evaluation of the 'Liber scriptus?, was newly discovered.As such, this edition offers new philological and editorial decisions regarding phrasing, articulation and dynamics and succeeds in presenting practical suggestions to solve musical problems and those concerning the interpretation of this famous work.This edition comprises a concise Critical Commentary in the score. The most important editions published in the 19th century are compared with regard to musicological questions in the work. The genesis of some misunderstandings included in the 1913 and 1964 Ricordi editions is traced. The first version of the 'Liber scriptus? for chorus is included in the appendix while the later version for mezzosoprano solo is to be found in the main part of the edition.- Verdi's monumental work in a Bärenreiter Urtext edition- Trilingual preface (Ital/Eng/Ger)- Critical Commentary (Eng) in the score- Idiomatic well-presented piano reduction / Ensemble A Vent

In spite of the most enthusiastic reception at the work's premiere, the famous pianist and conductor Hans von Bülow criticized Verdi's Messa da Requiem as 'an opera in ecclesiastical robes?. Nonetheless, or maybe precisely for this quality, the work has conquered concert podiums worldwide.For this scholarly-critical edition, the editor has consulted no less than 16 sources, many more than were ever used for any other edition of the Requiem - some of these sources were never evaluated before and one source, a hand-written vocal score, particularly relevant to the evaluation of the 'Liber scriptus?, was newly discovered.As such, this edition offers new philological and editorial decisions regarding phrasing, articulation and dynamics and succeeds in presenting practical suggestions to solve musical problems and those concerning the interpretation of this famous work.This edition comprises a concise Critical Commentary in the score. The most important editions published in the 19th century are compared with regard to musicological questions in the work. The genesis of some misunderstandings included in the 1913 and 1964 Ricordi editions is traced. The first version of the 'Liber scriptus? for chorus is included in the appendix while the later version for mezzosoprano solo is to be found in the main part of the edition.- Verdi's monumental work in a Bärenreiter Urtext edition- Trilingual preface (Ital/Eng/Ger)- Critical Commentary (Eng) in the score- Idiomatic well-presented piano reduction / Orchestre

In spite of the most enthusiastic reception at the work's premiere, the famous pianist and conductor Hans von Bülow criticized Verdi's Messa da Requiem as 'an opera in ecclesiastical robes?. Nonetheless, or maybe precisely for this quality, the work has conquered concert podiums worldwide.For this scholarly-critical edition, the editor has consulted no less than 16 sources, many more than were ever used for any other edition of the Requiem - some of these sources were never evaluated before and one source, a hand-written vocal score, particularly relevant to the evaluation of the 'Liber scriptus?, was newly discovered.As such, this edition offers new philological and editorial decisions regarding phrasing, articulation and dynamics and succeeds in presenting practical suggestions to solve musical problems and those concerning the interpretation of this famous work.This edition comprises a concise Critical Commentary in the score. The most important editions published in the 19th century are compared with regard to musicological questions in the work. The genesis of some misunderstandings included in the 1913 and 1964 Ricordi editions is traced. The first version of the 'Liber scriptus? for chorus is included in the appendix while the later version for mezzosoprano solo is to be found in the main part of the edition.- Verdi's monumental work in a Bärenreiter Urtext edition- Trilingual preface (Ital/Eng/Ger)- Critical Commentary (Eng) in the score- Idiomatic well-presented piano reduction / Violon I