ΒΙΒΛΙΑ ΦΩΝΗΤΙΚΗΣ

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

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

Pages:68Language:German,EnglishPublisher:Barenreiter

Poulenc – La Voix Humaine (Vocal Score)

Sing Carols! is a collection of traditional carols and Christmas songs for carol singers of all ages, compiled and arranged by composer Harry Escott.  Featuring all your favourites, every song in this collection can be sung as a single unison line, with easy-to-learn second and third parts provided for some. Additionally, there are some accompaniment suggestions for all the carols that are easy to perform outside and accompanying backing tracks are available to download.
Contents
Away in a manger
Brightest and Best
Deck the hall
Feliz Navidad
The First Nowell
Frosty the Snowman
Gabriel’s message
Go, tell it on the mountain
God rest you merry, gentlemen
Hark! The herald angels sing
The holly and the ivy
In dulci jubilo
Infant holy, infant lowly
Jingle bells
I saw three ships
Little donkey
The little drummer boy
Mary had a baby
O Christmas tree
O come, all ye faithful
O holy night
O little town of Bethlehem
Once in Royal David’s City
Quem pastores
Rocking carol
Sans day carol
Santa Claus is coming to town
Silent night
Sussex carol
Tomorrow shall be my dancing day
Unto us is born a son
The Virgin Mary had a baby boy
Voici la Noël
We three kings
We wish you a merry Christmas
 
 
Pages: 88Language: EnglishPublisher: Faber Music