Waisenhausmesse. Par MOZART WOLFGANG AMADEUS. Bei Mozarts Missa in c-Moll KV 139 [114a] von 1768/69, der sog. Waisenhausmesse, handelt es sich sehr wahrscheinlich um den ersten Beitrag des Komponisten im Genre der Missa solemnis [mit Blechbläser], wie sie für kirchliche Hochfeste und andere besonders repräsentative geistliche Anlässe gepflegt wurde. Wie die Nähe von Kyrie und Agnus etwa zu Glucks 1762 in Wien uraufgeführter Oper 'Orfeo' [Furienszene, Eingangschor] zeigt, greift der junge Mozart in diesen Teilen der Messe unmittelbar auf bühnendramatische Ausdrucksmittel zurück. So besticht die Messe gerade durch ihre Kühnheit und lebhaften Kontraste, die Mozart in seinen späteren Messen eher vermeidet. / 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

Marienantiphon. Par MOZART WOLFGANG AMADEUS. Im Gegensatz zu den beiden 'Regina coeli'-Vertonungen KV 74 und 127, die mit Solosopran und Chor besetzt sind, verwendet Mozart in KV 276 das Solistenquartett, das ähnlich wie in den Salzburger Messen oft nur in kurzen Einwürfen mit dem Chor dialogisiert. Zudem besteht die vorliegende Vertonung nur aus einem Satz, während die anderen beiden mehrere kontrastierende Sätze aufweisen. / Hymnes et chorals / Date parution : 1990-02-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Tonalité : B-Dur - Hob. XXII:13/ 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. Tonalité : C-Dur - Siedel, Mathias (Arr. ) - KV 257/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Tonalité : B-Dur - D 730. Par SCHUBERT FRANZ. Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Tantum ergo - Langue : Latin/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, in 1801, composed his 'Creation Mass' as the fifth of altogether six late missae solemnes commissioned by his employer, Prince Nikolaus II. Esterházy. The sobriquet 'Creation Mass' is not authentic, but it is probably based on the quotation in the Gloria taken from the oratorio 'Die Schöpfung'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Tonalité : C-Dur - Kred 326. Par DITTERSDORF CARL DITTERS VON. Of the 19 Masses by Dittersdorf which have been handed down, the present Mass, which is being published for the first time, enjoyed a special popularity during the composer’s lifetime and it was even performed for the coronation of emperor Franz II in the Frankfurt Cathedral. This solemn, prestigious Mass shows evidence of choral movements in traditional contrapuntal church style as well solo parts with a modern, cantabile character. In addition, the Gloria includes a lengthy virtuosic violin solo, which also lends the work a concertante character [Dittersdorf was a professional violinist]. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, in 1801, composed his 'Creation Mass' as the fifth of altogether six late missae solemnes commissioned by his employer, Prince Nikolaus II. Esterházy. The sobriquet 'Creation Mass' is not authentic, but it is probably based on the quotation in the Gloria taken from the oratorio 'Die Schöpfung'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Tonalité : B-Dur - D 730. Par SCHUBERT FRANZ. Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Tantum ergo - Langue : Latin/ 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

Schöpfungsmesse. Par HAYDN FRANZ JOSEF. Within approximately six weeks Haydn, in 1801, composed his 'Creation Mass' as the fifth of altogether six late missae solemnes commissioned by his employer, Prince Nikolaus II. Esterházy. The sobriquet 'Creation Mass' is not authentic, but it is probably based on the quotation in the Gloria taken from the oratorio 'Die Schöpfung'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Tonalité : C-Dur - Kred 326. Par DITTERSDORF CARL DITTERS VON. Of the 19 Masses by Dittersdorf which have been handed down, the present Mass, which is being published for the first time, enjoyed a special popularity during the composer’s lifetime and it was even performed for the coronation of emperor Franz II in the Frankfurt Cathedral. This solemn, prestigious Mass shows evidence of choral movements in traditional contrapuntal church style as well solo parts with a modern, cantabile character. In addition, the Gloria includes a lengthy virtuosic violin solo, which also lends the work a concertante character [Dittersdorf was a professional violinist]. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Tonalité : B-Dur - D 730. Par SCHUBERT FRANZ. Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Anlässe: Tantum ergo - Langue : Latin/ Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet