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.

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.- Urtext of the New Mozart Edition- Full score performance material (BA4791) and vocal score (BA4791-90) available for sale.

The Mass K.262 (246a) is known as Missa longa. Leopold Mozart designated it so next to the incipit on the cover of the autograph collection of five masses in C major by his son. Mozart literature gives the year of origin as 1776 without mentioning the speculative nature of this claim.The monumentality of the Missa longa suggests that the work was written for a particularly solemn occasion. When scanning for outstanding ecclesiastical events in the 1770?s one cannot ignore the consecration of Ignaz Josef Count Spaur coadjutor and administrator of the diocese of Brixen as titular bishop of Chrysopel on 17 November 1776 in the Salzburg cathedral. Erich Schenk claimsthat Leopold Mozart?s mention of Wolfgang?s ?Spaur Mass? in a letter of 28 May 1778 was in reference to the consecration of Ignaz Josef Spaur an old friend of the Mozart family. Mozart?s work would then have to be seen as an homage of a truly personal nature. The Missa longa is the only setting of the Ordinary from this period which is appropriate to such a highly solemn event.Urtext of the ?New Mozart Edition? Ideal for church services and concert performances Full score & performance material (BA4853) and vocal score (BA4853-90) for sale

Kantate Zum 12. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach legte der Kantate 'Lobe den Herren, den mächtigen König' in allen Sätzen sowohl Melodie als auch Text des gleichnamigen Chorales zugrunde. / Date parution : 1995-01-01/ Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, Timbales

Kantate Zum 12. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach legte der Kantate 'Lobe den Herren, den mächtigen König' in allen Sätzen sowohl Melodie als auch Text des gleichnamigen Chorales zugrunde./ Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, Timbales

Kantate Zum 12. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach legte der Kantate 'Lobe den Herren, den mächtigen König' in allen Sätzen sowohl Melodie als auch Text des gleichnamigen Chorales zugrunde./ Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, Timbales

Kantate Zum 12. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach legte der Kantate 'Lobe den Herren, den mächtigen König' in allen Sätzen sowohl Melodie als auch Text des gleichnamigen Chorales zugrunde./ Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, Timbales

Kantate Zum 12. Sonntag Nach Trinitatis. Par BACH JOHANN SEBASTIAN. Bach legte der Kantate 'Lobe den Herren, den mächtigen König' in allen Sätzen sowohl Melodie als auch Text des gleichnamigen Chorales zugrunde./ Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, Timbales