ΒΙΒΛΙΑ ΦΩΝΗΤΙΚΗΣ

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

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

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

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

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
 
 

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

Pages:47Language:English,GermanPublisher:Barenreiter

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
 

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

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