Coronation Mass

SKU: CA.4061846

Key: C major. Language: Latin.

Mozart's Missa in C K. 317, erroneously dubbed the Coronation Mass, is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakow. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass (by Fugerl), since such later copies often help to clarify questions concerning historical performance practice. This work is now available in carus music, the choir app! Score available separately - see item CA.4061800.

SKU: CA.4061847

Key: C major. Language: Latin.

Mozart's Missa in C K. 317, erroneously dubbed the Coronation Mass, is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakow. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass (by Fugerl), since such later copies often help to clarify questions concerning historical performance practice. This work is now available in carus music, the choir app! Score available separately - see item CA.4061800.

SKU: CA.4061848

Key: C major. Language: Latin.

Mozart's Missa in C K. 317, erroneously dubbed the Coronation Mass, is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakow. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass (by Fugerl), since such later copies often help to clarify questions concerning historical performance practice. This work is now available in carus music, the choir app! Score available separately - see item CA.4061800.

SKU: CA.4061845

Key: C major. Language: Latin.

Mozart's Missa in C K. 317, erroneously dubbed the Coronation Mass, is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakow. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass (by Fugerl), since such later copies often help to clarify questions concerning historical performance practice. This work is now available in carus music, the choir app! Score available separately - see item CA.4061800.

SKU: HL.50510103

ISBN 9790080076170. UPC: 073999216912. 7.5x10.75x0.309 inches. Latin. Imre Sulyok.

The Coronation Mass was composed by Liszt for the coronation of King Franz Joseph I and Queen Elisabeth. The first performance of the work took place on June 8, 1867 at the Mathias Church at Buda. Also the composer was present at this occasion.

Territorial restrictions may apply. Please ask before ordering.

SKU: BT.EMBZ7617

Latin.

The Coronation Mass was composed by Liszt for the coronation of King Franz Joseph I and Queen Elisabeth. The first performance of the work took place on June 8, 1867 at the Mathias Church at Buda, and the composer was present at this occasion. Territorial restrictions may apply. Please ask before ordering.

SKU: CA.4061818

ISBN 9790007219666. Key: C major. Language: Latin.

Mozart's Missa in C K. 317, erroneously dubbed the Coronation Mass, is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakow. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass (by Fugerl), since such later copies often help to clarify questions concerning historical performance practice. This work is now available in carus music, the choir app! Score and part available separately - see item CA.4061800.

SKU: CA.4061817

ISBN 9790007219659. Key: C major. Language: Latin.

Mozart's Missa in C K. 317, erroneously dubbed the Coronation Mass, is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakow. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass (by Fugerl), since such later copies often help to clarify questions concerning historical performance practice. This work is now available in carus music, the choir app! Score and part available separately - see item CA.4061800.

SKU: CA.4061804

ISBN 9790007187330. Key: C major. Language: Latin.

Mozart's Missa in C K. 317, erroneously dubbed the Coronation Mass, is among the most popular and most often performed works in this genre. The autograph of the Mass, which in many respects is very enlightening, was regarded as having been lost following the end of World War II, but was discovered at the end of the 1970s, it is preserved among the musical treasures contained in the Biblioteka Jagiellonska in Krakow. Ulrich Leisinger, the editor, prepared the edition based upon what is, without a doubt, the only authentic source, although additionally in the Critical Report he has also consulted an early copy of the Mass (by Fugerl), since such later copies often help to clarify questions concerning historical performance practice. This work is now available in carus music, the choir app! Score available separately - see item CA.4061800.

SKU: TM.07186SC

Also known as Missa in Angustiis, L'imperial and Coronation Mass. Org in set. Winds are required. See #09612 for Chamber version. Clothbound score.

SKU: TM.07186SET

Also known as Missa in Angustiis, L'imperial and Coronation Mass. Org in set. Winds are required. See #09612 for Chamber version. Clothbound score.

SKU: BR.OB-5329-11

ISBN 9790004333525. 10 x 12.5 inches.

According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna , dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.

SKU: BR.OB-5329-16

ISBN 9790004333549. 10 x 12.5 inches.

According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna , dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.

SKU: BR.OB-5329-26

ISBN 9790004333556. 10 x 12.5 inches.

According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna , dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.

SKU: BR.OB-5329-30

ISBN 9790004333563. 10 x 12.5 inches.

According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna , dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.

SKU: BR.CHB-5289-02

ISBN 9790004412046. 7.5 x 10.5 inches.

According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna , dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.

SKU: BR.PB-5329

ISBN 9790004210420. 10 x 12.5 inches.

According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna , dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.

SKU: BR.OB-5329-15

ISBN 9790004333532. 10 x 12.5 inches.

According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna , dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.

SKU: SU.00220637

This CD Sheet Musicâ„¢ collection on USB Flash Drive makes available vocal scores for 41 choral works by three masters from the 18th and early 19th centuries. HAYDEN: The Creation, The Seasons, The Seven Last Words of Christ (German & English), Te Deum, Masses (Mass in Time of War, Lord Nelson Mass, Paukenmesse) MOZART: Requiem, Coronation Mass, Mass in C minor, Ave Verum Corpus, Regina Coeli BEETHOVAN: Missa Solemnes, Choral Fantasy, Ruins of Athens, Ode to Joy (Symphony No. 9) Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2,200+ pages

SKU: KU.GM-1

ISBN 9790206206290. Latin.