ΒΙΒΛΙΑ ΦΩΝΗΤΙΚΗΣ

ΒΙΒΛΙΑ ΦΩΝΗΤΙΚΗ

  • Mozart – Cosi Fan Tutte KV588

    In the space of a few months, in the autumn and winter of 1789, Mozart filled more than 650 pages of a score that shows practically no signs of mental or physical exertion. The result was one of his most profound operas, Così fan tutte , which has held listeners spellbound with its blend of bitterness and comedy to the present day.Our new easy-to-play vocal score is based on the volume edited by Faye Ferguson and Wolfgang Rehm for the “New Mozart Edition” (NMA II/5/18) and on the latest scholarly findings from the critical commentary published by Henning Bey and Faye Ferguson in 2003.
     
     
    Pages:441Language: English,GermanPublisher:Barenreiter

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  • Mendelssohn – Elias Op.70

    Immediately after completing “St. Paul” in 1836, Mendelssohn mulled over the idea of composing a further oratorio. However a whole decade elapsed before the composition of “Elijah” which takes as its theme the story of the Biblical prophet from the 1st Book of Kings. When he received the invitation to write a major work for the Birmingham Music Festival, Mendelssohn finally embarked on work on the oratorio. “Elijah” was premiered in 1846 in Birmingham with great success and has enjoyed great popularity ever since.Following the first performance, Mendelssohn undertook a revision of the oratorio in which whole numbers were removed and new ones substituted. This is the version which was first heard in 1847 in London and which is still performed today.This Urtext edition of the oratorio edited by the Mendelssohn specialist Douglass Seaton is based on all critical sources. The edition reflects the latest research findings and includes both English and German singing texts.A critical commentary completes the new edition.
     
    Pages:311Language:English,GermanPublisher:Barenreiter

    Mendelssohn – Elias Op.70

    21,6024,00

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  • Haydn – Missa St Bernardi Von Offida Spartitoba

    Bernard of Offida, 1604–1694, was a Capuchin monk, whose saintly life and devotion to the sick and poor, caused him to be beatified by Pope Pius VI on 19 May, 1795. St. Bernard’s name day falls on the 11th of September (a Saturday in 1797), and it is generally thought that Haydn combined doing honour to the Capuchin monk with the production of a new Mass for his patron the day thereafter.Apparently later performances in Eisenstadt added horns to double the trumpets in the tuttis, and – just as in the previous Mass – the clarinet parts were enlarged; it is almost certain that the new clarinet parts are either by Haydn, or (shall we say) “supervised” by him. As in the Mass in Time of War conductors have the choice of two orchestrations: with or without doubling horns and with or without the supplementary clarinet parts.The Heiligmesse has always been one of Haydn’s most admired works. Its dignity, its strength (we draw special attention to the extraordinary “Gratias”, with its brilliant contrapuntal writing), the subdued orchestral grandeur to which the B-flat trumpets contribute a silvery but unmartial weight – all these have made it one of Haydn’s most serious and most deeply sensitive church works: its constant popularity in Viennese churches is quite deserved.
     
    Pages:125Language:English,GermanPublisher:Barenreiter

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  • Haydn – Schopfungsmesse Spartito

    The Creation Mass was composed and first performed during the last decade ofHaydn’s life in September 1801 at the Bergkirche at the Esterhazy estate in Eisenstadt, on the occasion of the nameday of Princess Maria Hermenegild. The nickname ‘Creation’ stems from Haydn’s incorporating into the Gloria movement (at the words ‘Qui tollis peccata mundi’) a quotation from Adam and Eve’s duet in his oratorio The Creation.
     
    Pages:161Language:English,GermanPublisher:Barenreiter

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  • Haydn – Missa In Tempore Belli “Mass in Time of War”

    Haydn was in England, in 1795, when he received word from his new Prince, Nicolaus II Esterházy, that the Esterházy orchestra was to be reformed, and Haydn was to serve again as active Capellmeister.Prince Nicolaus II demanded little from his Capellmeister, except the usual routine of administration; but Haydn was to compose, every year, a new Mass for the name day of the Princess Josepha Maria, which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen’s Day (26 December) 1796. The writer of these notes examined – when preparing this edition – the music archives of the church, and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion, and thus also the work which Haydn had just finished and performed in Eisenstadt.
     
    Pages:151Language:English,GermanPublisher:Barenreiter

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  • Bach – Missa In F Major (Lutheran Mass) BWV233

    Pages:43Language:English,GermanPublisher:Barenreiter

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  • Bach – Missa In A Major (Lutheran Mass) BWV234

    Pages:45Language:English,GermanPublisher:Barenreiter

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  • Mozart – Requiem KV 626

    Mozart’s final work, the Requiem K. 626, was left incomplete.The completion of the fragmentary score by his assistant Franz Xaver Süssmayr, who helped him with The Magic Flute, has the character of a historical source with utmost closeness to Mozart’s thoughts.The completed Requiem score, published in the New Mozart Edition, serves as the basis for this vocal score edition which now appears in a revised form and newly engraved. Minor corrections have been made to the musical text, the vocal parts have been made easier to read and the piano accompaniment easier to play.Christoph Wolff, an authoritative Requiem connoisseur has supplied a Foreword with a clear and concise account of the work’s genesis and its musical features.This vocal score was revised in 2017.Vorwort
     
    Preface
     
    Composer / Author:
    Mozart, Wolfgang Amadeus / Süßmayr, Franz Xaver
    Requiem K. 626. The Requiem, completed by Franz Xaver Süßmayr, in its traditional form:
    Instrumentation:
    Soprano solo, Alto solo, Tenor solo, Bass solo, Mixed choir (SATB), Basset horn (2), Bassoon (2), Trumpet (2), Trombone (3), Timpani, Violin (2), Viola, Basso continuo (Violoncello, Basso, Organ)
    Duration (approx.):
     
     
    I. Introitus
     
    II. Kyrie
     
    III. Sequenz:
     
    1. Dies irae
     
    2. Tuba mirum
     
    3. Rex tremendae
     
    4. Recordare
     
    5. Confutatis
     
    6. Lacrimosa
     
    IV. Offertorium:
     
    1. Domine Jesu
     
    2. Hostias
     
    V. Sanctus
     
    VI. Benedictus
     
    VII. Agnus Dei
     
    VIII. Communio / Lux aeterna
     
     
    Pages:80Language:English,GermanPublisher:Barenreiter

    Mozart – Requiem KV 626

    9,3010,40

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  • Mozart – Die Schuldigkeit Des Ersten Gebots KV35

    This work, possibly commissioned by Prince-Bishop Sigismund Christoph von Schrattenbach , was assigned to three Salzburg composers: W. A. Mozart (part 1), Michael Haydn (part 2), and Anton Cajetan Adlgasser (part 3). Only the manuscript of part 1 has survived. Here Mozart drew heavily on the Salzburg tradition of church music and school dramas, perhaps taking Johann Ernst Eberlin and even his father Leopold as his models.The first performance took place in the Knights’ Hall of the prince’s palace on 12 March 1767. The libretto was supplied by Ignaz Anton Weiser (1701–1785), town councillor and mayor of Salzburg .Mozart wrote out many of the appoggiaturas in this early work, thereby providing a useful guide to the vocal practices of his day. Aria no. 2 has come down to us with an instructive passage in which the vocal part is ornamented in the hand of Leopold Mozart.The piano reduction, by K.-H. Müller , was prepared on the basis of the New Mozart Edition. The piano part is uncluttered and easy-to-play.
     
    Pages:162Language:English,GermanPublisher:Barenreiter
     
     

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  • Mozart – Missa in C Major “Sparrow Mass” KV220

    Mozart’s “Missa in C major” (K.220), nicknamed the “Sparrow Mass” for its frequently recurring characteristic motifs in the violins, has retained a firm place in the choral repertoire to the present day. The “Sparrow Mass” is one of the most significant pieces of church music from Mozart’s years in Salzburg.Thanks to its clarity and largely homophonic texture, it remains even today a work that is easily mastered in church and concert hall performances.
     
    Pages:39Language:English-GermanPublisher:Barenreiter

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  • Mozart – Missa in C “Credo-Messe” KV 257

    Over time Wolfgang Amadeus Mozart‘s “Missa in C major” K. 257 has been given many nicknames. This work, also known as the “Great Credo Mass” was referred to as “Missa longa” by Leopold Mozart due to its duration. Mozart usually liked to call works of this magnitude “Missa solemnis“, but for unknown reasons, in the case of the “Great Credo Mass”, he did not use this title. As the work was originally composed for the ordination of Salzburg Canon Ignaz von Spaur, Leopold also called the work “Spaur Mass”.The mass was composed in late 1776 or early 1777 in the usual baroque tradition where the three trombones are set Tutti colla parte with the alto, tenor and bass parts.The spatial separation of singers in the Salzburg Cathedral is somewhat similar to the polychoral style, in which solo and choir ensemble performed separately with one organ each. The soloists along with the first organ formed the “concerto”, while the choir and the second organ took on the “ripieno” role.Walter Senn’s edition is largely based on the autograph score, as well as on a set of autograph parts that was added and corrected by Wolfgang Amadeus and Leopold Mozart at a later time.
     
    Pages:61Language:English,GermanPublisher:Barenreiter
     
     

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  • Mozart – Missa In C Major “Dominicus Mass” KV66

    The Missa solemnis K.66 was one of the compositions that Mozart composed for the first solemn mass celebrated by his childhood friend Pater Dominicus Hagenauer in the abbey church of St. Peter in Salzburg on 15 October 1769.
     
    Pages:82Language:EnglishPublisher:Barenreiter

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  • Haydn – Missa Cellensis

    Kyrie
     
    Gloria
     
    Credo
     
    Sanctus
     
    Benedictus
     
    Agnus
     
     
    Pages:148Language:English-GermanPublisher:Barenreiter

    Haydn – Missa Cellensis

    23,1025,60

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  • Bach – Missa In G Minor BWV “Lutheran Mass”

    Pages:48Language:English,GermanPublisher:Barenreiter

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  • Bach – Missa In G Major BWV 236 “Lutheran Mass”

    Pages:47Language:English,GermanPublisher:Barenreiter

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  • Mozart – Vesperae Solennes De Dominica Kv321

    We know that Mozart held his Vespers in high regard since he once asked his father, in a letter dated 12 March 1783, to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Office hymns designated as Vesperae de Dominica K. 321 and Vesperae solennes de Confessore K. 339 contain settings of Psalms 109 (Dixit), 110 (Confitebor), 111 (Beatus vir), 112 (Laudate pueri), 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms an autonomous unit; the Doxology at the end is derived from the themes of the various Psalms.
     
    Pages:64Language:English,GermanPublisher:Barenreiter
     

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  • Schubert – Mass In C Major D452, Op48

    The Mass in C major (D 452), composed during June and July 1816, was written for the church in Lichtental and presumably also first performed there, as can be inferred from the dedication to the choirmaster of the church, Michael Holzer. Not only is the first edition dedicated to Holzer, but also the autograph score, which bears a dedication “to Mr. Holzer” on its title page.This new edition was based on the first edition. Schubert not only added the oboe parts, but also revised the score for the performance of the Mass at St. Ulrich, an occasion that was closely connected with the publication of the first edition. Of course, the autograph was also examined in view of assuring a better interpretation of Schubert’s markings.
     
    Mass C major op. 48 D 452:
     
    Preface
     
    Composer / Author:
    Schubert, Franz
    Messe C-Dur op. 48 D 452:
    Instrumentation:
    Sopran solo, Alt solo, Tenor solo, Bass solo, Gemischter Chor (SATB), Oboe (2) ad libitum, Klarinette (2) ad libitum, Trompete (2) ad libitum, Pauke ad
     
    Kyrie
     
    Gloria
     
    Credo
     
    Sanctus
     
    Benedictus
     
    Agnus Dei
     
    Appendix: Benedictus (Second arrangement)
     
    Pages:52Language:English,German Publisher:Barenreiter
     

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  • Schubert – Mass In B-Flat, D324-Op. Post. 141

     
    Kyrie
     
    Gloria
     
    Credo
     
    Sanctus
     
    Benedictus
     
    Agnus Dei
     
     
    Pages:55Language:English,GermanPublisher:Barenreiter

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  • Mozart – Missa Trinitatis C Dur Kv167 Spartito

    The “Missa in C major” K. 167 is Mozart’s only mass to bear a dedication in its title: “Missa in honorem SS:mae Trinitatis”. Thus the work is connected to a specific occasion which so far has not been able to be determined. The autograph is dated “Giugno 1773”, meaning that the work was most likely premiered on 5 June 1773 (Trinity Sunday).The large instrumentation for orchestra consisting of two oboes, two clarions, two trumpets, timpani, two violins, double bass and organ reflects the solemnity of the occasion for which the mass was composed.The “Missa in C major” shows a marked difference in comparison with previous masses; there is an absence of highly dramatic elements and stark contrasts. In addition the mood is decidedly solemn and a formal structure of the movements is adhered to.
     
    Pages:70Language:English,GermanPublisher:Barenreiter

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  • Mozart – Missa Longa C Dur Kv262 Spartito

    Missa Longa in C major Contents: Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei Editor: Walter Senn Arranger: Martin Focke. Language(s) of work: Latin
     
    Pages:66Language:English,GermanPublisher:Barenreiter

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  • Mozart – Missa Brevis in D major KV194

    Pages:36Language:English,GermanPublisher:Barenreiter

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  • Haydn – Missa In Angustiis Spartito

    The so-called Nelson Mass is the third of the six great High Masses that Haydn wrote between 1796 and 1802 for the name-days of Princess Maria Josepha Hermenegild Esterházy. According to the dates given in the autograph he composed the work in the period between 10 July and 31 August 1798. It was thus written in the year of the first performance of the Creation.
     
    Pages:142Language:GermanPublisher:Barenreiter

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  • Rossini – Petite Messe Solennelle

    The “Petite Messe solennelle” is the finest work of Rossini’s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received its first performance in March 1864. Together with the “Stabat mater”, the mass is one of the composer’s mostimportant sacred works.The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18 th century which was cultivated in France in Rossini’s day. It forms a distinct contrast to the style of large-scale sacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass too heavily in later arrangements.The piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.
     
    Pages:145Language:English,GermanPublisher: Barenreiter

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