SKU: CF.O88X

ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches.

These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within.
IntroductionTi ps on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication.

SKU: GI.G-006611

UPC: 641151066110. English.

Looking for a better way to really hear the Scriptures all year long and to help others to do the same? In this 3-volume resource, you will find introductions to each liturgical season, citations for the readings for the Sundays, feasts, and solemnities of the liturgical year‚ reflections and responses, discussion questions in a separate section for group leaders‚ and a handy liturgical reference calendar. Pre-formatted, easy-to-reproduce pages are also found on the CD as word processing files that can be edited and included in parish publications like bulletins, newsletters, and handouts. The reflections are undated so that they can be used in any corresponding Lectionary cycle year. Use Scripture Soundings with RCIA groups, discussion groups‚ religious education and adult formation programs‚ and teen groups. Help God's Word resonate even more strongly in the lives of everyone in your community! Also available for Year A and Year C.

SKU: CL.070-1976-99

Completely revised in 1995. Now includes the most up-to-date information available for jazz educators. New charts, lists and bibliographies have been included as well as a complete chapter on Computers, Technology and Jazz Education. This text is a must for the director with little experience with jazz ensembles or for those wanting to update their skills in areas necessary to create a comprehensive jazz program in your school system. The Jazz Ensemble Director’s Manual has been the text of choice in many college jazz classrooms and the new revisions will enhance its continued use. This book is literally loaded with charts, drawings, forms, photographs, tables and music examples and will be a source of information for years to come. It includes a compact disc recording that allows you and your students the opportunity to hear as well as see the musical examples in the Phrasing and Articulation chapter. Every practical aspect of establishing a solid jazz program is covered, ranging from the basics of starting an ensemble to effective rehearsal techniques that get the most from your students. From a musical perspective, this text will give you an in-depth understanding of jazz chord notation, phrasing and articulations. It includes a chapter on the jazz combo which presents information on the setting up of a combo in addition to suggested repertoire considered standard for combo training. The publisher index has been revised to reflect recent changes in publishing areas and the extensive bibliography of selected materials for jazz improvisation has been updated to include recent publications. This text had it all...now with a revised edition available, it has even more! Contains Chapters On: Starting a Jazz Ensemble Program, Jazz Ensemble Instrumentation, The Jazz Combo, Selecting the Music, Ensemble Set- Up, The Jazz Ensemble Conductor, Rehearsal Psychology and Techniques, Phrasing and Articulation, Contest and Concert Preparation, Sound Reinforcement, Understanding Chord Notation, The Rhythm Section, Teaching Basic Jazz Improvisation, Computer Technology and Jazz Education.

SKU: HL.256650

ISBN 9781540015303. UPC: 888680723699. 9.0x12.0x0.78 inches.

This updated 7th edition coffee table collection is a Disney lover's dream come true! It is a guided tour through the many legendary years of Disney music. The book begins with an extensive musical history of Disney, followed by beautiful piano/vocal arrangements of 70 Disney classics. Printed on deluxe stock with more than 100 stunning full-color illustrations accompanying the text and music, this book is a keepsake to treasure for years to come! Songs include: Bibbidi-Bobbidi-Boo (from Cinderella) * Circle of Life (from The Lion King) * Evermore (from Beauty and the Beast) * How Far I'll Go (from Moana) * I See the Light (from Tangled) * Let It Go (from Frozen) * Under the Sea (from The Little Mermaid) * When You Wish Upon a Star (from Pinocchio) * You've Got a Friend in Me (from Toy Story) * and more.

SKU: GI.G-10049

SKU: UT.NAP-11R

ISBN 9790215324459. 9 x 12 inches.

P erformance Material on Hire

[S olo: SSATTB - Choir: SATB - 2.2.2.2 - 4.2.3.0 - Tp - Hp - Str]

Francesca da Rimini is a drama for music in two acts by Saverio Mercadante, libretto by Felice Romani; the text is freely inspired by the unfortunate events of the two lovers, Francesca and Paolo, of which Dante's Comedy (canto V) also narrates.
According to some scholars, the first performance of Francesca da Rimini took place in Madrid in January 1828; however, this date is not reflected in the Diario de Avisos de Madrid, a publication that daily reserved a conspicuous space for news on the shows staged in the Spanish city: the years between 1828 and 1831 in fact do not mention the work. Furthermore, no printed libretto of Mercadante's Francesca da Rimini is preserved today – an inexplicable fact, if one admits that the performance took place. The text of the opera can be largely traced back to the one prepared by Romani for the homonymous work by Antonio Carlini (Naples 1825), which Mercadante was able to know before his stay in Spain.
Following the missed Spanish premiere, the opera should then have been represented at La Scala Theater in a subsequent season, with reliability the imminent one of the 1831/32 carnival; but shortly thereafter the impresario died: thus the contractual obligations involving him were no longer fulfilled, and, for a second time, Mercadante was then forced to shelve the plans about Francesca da Rimini, put aside now for several months.
In fact, the scoring – very similar to that of the operas planned at La Scala in the same Carnival period – assumes that Francesca da Rimini was destined for a theatre of great means, like few others in Italy besides La Scala. But the failure of the opera may also have been due to the presence of the part of an amoroso en travesti, Paolo, to whom Mercadante assigns a prominent role also in terms of music: in 1831 and in Italy such a solution was no longer so frequent as a few years before or in provincial theatres, and so this condition may possibly have affected the fate of the negotiations in Milan, and may explain how the composer was then unable to have the score performed elsewhere.
This critical edition is based on manuscript copies conserved in the Museo internazionale e Biblioteca della Musica di Bologna (autograph score) and in the Biblioteca Histórica Municipal in Madrid (score and separate parts).

SKU: UT.NAP-11

ISBN 9790215323438. 9 x 12 inches.

P erformance Material on Hire

[S olo: SSATTB - Choir: SATB - 2.2.2.2 - 4.2.3.0 - Tp - Hp - Str]

Francesca da Rimini is a drama for music in two acts by Saverio Mercadante, libretto by Felice Romani; the text is freely inspired by the unfortunate events of the two lovers, Francesca and Paolo, of which Dante's Comedy (canto V) also narrates.
According to some scholars, the first performance of Francesca da Rimini took place in Madrid in January 1828; however, this date is not reflected in the Diario de Avisos de Madrid, a publication that daily reserved a conspicuous space for news on the shows staged in the Spanish city: the years between 1828 and 1831 in fact do not mention the work. Furthermore, no printed libretto of Mercadante's Francesca da Rimini is preserved today – an inexplicable fact, if one admits that the performance took place. The text of the opera can be largely traced back to the one prepared by Romani for the homonymous work by Antonio Carlini (Naples 1825), which Mercadante was able to know before his stay in Spain.
Following the missed Spanish premiere, the opera should then have been represented at La Scala Theater in a subsequent season, with reliability the imminent one of the 1831/32 carnival; but shortly thereafter the impresario died: thus the contractual obligations involving him were no longer fulfilled, and, for a second time, Mercadante was then forced to shelve the plans about Francesca da Rimini, put aside now for several months.
In fact, the scoring – very similar to that of the operas planned at La Scala in the same Carnival period – assumes that Francesca da Rimini was destined for a theatre of great means, like few others in Italy besides La Scala. But the failure of the opera may also have been due to the presence of the part of an amoroso en travesti, Paolo, to whom Mercadante assigns a prominent role also in terms of music: in 1831 and in Italy such a solution was no longer so frequent as a few years before or in provincial theatres, and so this condition may possibly have affected the fate of the negotiations in Milan, and may explain how the composer was then unable to have the score performed elsewhere.
This critical edition is based on manuscript copies conserved in the Museo internazionale e Biblioteca della Musica di Bologna (autograph score) and in the Biblioteca Histórica Municipal in Madrid (score and separate parts).

SKU: BA.BA09388-22

ISBN 9790006566983. 41.8 x 29.2 cm inches.

Gabriel Faure (1845-1924) is best known as a composer of songs, the Requiem, several pieces of chamber of music and the Pavane. The OEuvres completes de Gabriel Faure, published by Barenreiter since 2010, has taken on the task of displaying his music in all its variety to a new listening public. Now the eighth volume has appeared in print: Jean-Michel Nectoux' thematic catalogue.

With 201 entries in chronological order, the catalogue lists every known work by this French composer. The entries, each with its new 'N' number, provide information on opus numbers (those assigned during Faure's lifetime), scoring, key, musical incipit, text incipit, text source, manuscript sources, date of origin, dedicatees, date of first performance, relationships to publishers, printed editions, authorial and non-authorial arrangements (if any), commentary and bibliographic references. No fewer than six indices make the volume easy to search.

The thematic catalogue (Catalogue Nectoux) will soon prove to be an indispensable reference work for anyone interested in Faure and the music of his era. It is a distillation of Nectoux' scholarly efforts of the past 50 years, the result of his journeys to every library where Faure's manuscripts are preserved - and a milestone of French musical scholarship.

SKU: HL.49046442

ISBN 9781540094780. UPC: 842819113003.

The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current editionas a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the developmentsection (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance.

SKU: BR.OB-5562-15

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 20 pages. Duration 52'. Breitkopf and Haertel #OB 5562-15. Published by Breitkopf and Haertel (BR.OB-5562-15).

ISBN 9790004342282. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

SKU: BR.PB-5596-07

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Study Score. 188 pages. Duration 52'. Breitkopf and Haertel #PB 5596-07. Published by Breitkopf and Haertel (BR.PB-5596-07).

ISBN 9790004214060. 6.5 x 9 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

SKU: BR.PB-5562

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Full score. 188 pages. Duration 52'. Breitkopf and Haertel #PB 5562. Published by Breitkopf and Haertel (BR.PB-5562).

ISBN 9790004213728. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

SKU: BR.OB-5562-16

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 24 pages. Duration 52'. Breitkopf and Haertel #OB 5562-16. Published by Breitkopf and Haertel (BR.OB-5562-16).

ISBN 9790004342299. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

SKU: BR.OB-5562-30

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Set of parts. 116 pages. Duration 52'. Breitkopf and Haertel #OB 5562-30. Published by Breitkopf and Haertel (BR.OB-5562-30).

ISBN 9790004342329. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).