The dating ?nel mese Decembre 1776? on the autograph of the Missa K. 258 is not authentic; it was most likely written towards 1775/76. On the autograph Leopold Mozart inscribed the title Missa but at the incipit on the old cover of the autograph collection he wrote Missa brevis. This points to the lack of standardization and uncertainty of the nomenclature. Although the work is written in the brevis form it calls for additional instruments besides the usual church trio which assigns it to the genre of the brevis et solemnis mass. Mozart added two oboes whose parts he wrote out himself and which are enclosed together with the primary copy. The two oboe parts seemto have been unavailable to any copyists.Urtext of the ?New Mozart Edition?Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4851) and vocal score (BA4851-90) for sale

The dating ?nel mese Decembre 1776? on the autograph of the Missa K. 258 is not authentic; it was most likely written towards 1775/76. On the autograph Leopold Mozart inscribed the title Missa but at the incipit on the old cover of the autograph collection he wrote Missa brevis. This points to the lack of standardization and uncertainty of the nomenclature. Although the work is written in the brevis form it calls for additional instruments besides the usual church trio which assigns it to the genre of the brevis et solemnis mass. Mozart added two oboes whose parts he wrote out himself and which are enclosed together with the primary copy. The two oboe parts seemto have been unavailable to any copyists.Urtext of the ?New Mozart Edition?Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material (BA4851) and vocal score (BA4851-90) for sale

Oratorio on passages from the Holy Bible and the Catholic liturgy. Franz Liszt’s “Christus” is an attempt to capture in music the life of Christ from his birth to his Passion and Resurrection thereby following in the tradition of Handel’s biblical oratorios. Despite the familiar subject matter Liszt was concerned less with depicting Jesus’s deeds than with producing an object of meditation. To this end he employed a full array of musical devices to create a work abounding in sharp contrasts: symphonic textures alongside simple hymns modal harmonies alongside bold chromaticism and varied combinations of voices and instrumentsalongside purely instrumental groupings. David Friddle’s new edition is the first to publish the original text of “Christus” on the basis of all available sources. His extensive introduction also sheds light on the performance practices of Liszt’s day. Our vocal score contains a German translation of the original Latin as a guide. - First Urtext edition of this work. - Straightforward easy-to-play piano reduction. - Duration: approx. 175 minutes. - Full score (BA7680) and vocal score (BA7680-90) for sale; performance material (BA7680-72) for hire.

Der Himmel lacht! Die Erde jubilieret BWV 31 (The Heavens laugh the earth exults in gladness) BWV 31Cantata for the 1st Easter DayPerformance material (BA10031) vocal score (BA10031-90) & study score (TP1031) available for saleThe text by Salomon Franck who was the librettist of some of Bach's the best-known cantatas is closely linked to the account of Easter and recalls the jubilation at the resurrection of Jesus.Our editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach?s output is as wide-ranging as the cantatas. This is hardlysurprising considering that for over five years Bach was required to compose a work or at least re-work an existing one for every Sunday and festival of the church year as well as for numerous secular occasions such as council inaugurations school and university celebrations and royal birthdays.Unfortunately not all cantatas have survived. However over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then.

A Child Of Our Time is probably Tippett's most celebrated work. It began life in 1938 when Tippett was searching for an appropriate subject for a full-scale oratorio which would be modelled on Handel's Messiah and Bach's Passions. With the Second World War and particularly the news of Kristallnacht in Nazi Germany the idea for A Child Of Our Time was born. He enriched the work with Negro spirituals the perfect modern equivalent to Bach's chorales. The result is an exultant assertion of compassion and brotherhood against all divisions of race or religion. This is the Vocal Score with Piano reduction.

The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.

The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.

The first page of the autograph of the Mass K.49 (47d) bears below the author’s name the crossed-out (autograph?) suffix “in Wien” (“in Vienna”). “1768” and “in Wien” have been added by two other unidentified eighteenth-century hands.Mozart’s handwriting and the paper quality appear to verify this information. Moreover Mozart sketched the draft of the Gloria (measures 1 to 18) on a piece of paper the reverse side of which his father had used undoubtedly before that for the fair copy of the piano score of aria no. 11 from Bastien et Bastienne K. 50 (46). In Leopold Mozart’s list of works composed byWolfgang up to 1768 “Eine kleinere Messe a 4 vocibus 2 Violinis &c” (“a small Mass with 4 voices 2 violins etc.”) appears as the penultimate entry; the year 1768 was added by Mozart’s sister. Although the obbligato viola is not mentioned there this comnposition is surely the Mass K.49.- Urtext of the New Mozart Edition- Full score performance material (BA4769) and vocal score (BA4769-90) available for sale.

Mozart’s famous and beloved “Laudate Dominum” from the Vesperae solennes de Confessore (K.339) is now available as a separate movement with performance material and a vocal score.This melodious setting of the text from Psalm 116 captivates with the simplicity of its soprano solo whose pastoral flavor returns when the words “Gloria patri” are repeated by the chorus.Thanks to its straightforward compositional fabric the soprano solo can easily be sung by a member of the chorus thereby making this effective piece ideal for small church choirs.- Urtext from the “New Mozart Edition”- Straightforward andeasy-to-play piano reduction- Full score parts (BA5339) and vocal score (BA5339-90) available for sale