Piano Excerpts

The autograph was initially lost after the Second World War, but was found again in 1964 and forms the basis for this new critical edition by Christine Martin. Compared to other sources, articulation...

In contrast to the two "Regina coeli" settings K. 74 and 127, which are scored for solo soprano and choir, Mozart uses the solo quartet in K. 276, which, similar to the Salzburg masses, often only dia...

Of the vespers and vesper psalms that Mozart wrote for Salzburg Cathedral, the vesper parts "Dixit et Magnificat" are the earliest. Like the later complete vespers, they belong to the ecclesiastical a...

Mozart's "Sancta Maria" is one of those liturgical chants that are based on the time of the church year or the respective feast of the saints. It was probably sung on a feast of the Virgin Mary follow...

This Litany of the Virgin Mary is the first and simplest of the four litanies that Mozart composed in Salzburg in 1771-76. Due to the simple scoring - the trombone choir which joins the church trio on...

The litany consists of six movements, which are divided into nine differently characterized sections. It is clearly based on the sacramental litanies of his Salzburg predecessors and contemporaries.

contains: Dixit Dominus (Ps 109) in C Confitebor (Ps 110) in e Beatus vir (Ps 111) in B Laudate pueri (Ps 112) in F Laudate Dominum (Ps 116) in A Magnificat in C

It was during Mozart's last years at Salzburg, 1779 and 1780, that he composed the two sets of Vespers, KV 321 and KV 339. The music ot these Vespers gives no indication of Mozart's many grounds for a...

Franz von Suppè did not write his "Requiem" as a generally human or pantheistic lament for the dead, but as a consciously Christian-Catholic work of confession. The fact that Suppè succeeded in compos...

Cherubini's Requiem in C minor for mixed choir (without vocal soloists) and orchestra, which is presented here in a critically correct new edition, is one of the most important contributions to the ge...

Cherubini's "Messe solennelle in G" was originally composed for a planned coronation ceremony in 1819. However, the celebrations did not take place. The mass disappeared into oblivion and was only red...

Unlike in the well-known settings of the "Seven Words" by Schütz or Haydn, Franck comments on the sayings of the crucified Jesus in his opulently scored composition with passages from the Old and New...

The arrangement of chorales had already played a major role during Mendelssohn's apprenticeship with Zelter, and his preoccupation with the Protestant chorale can even be found throughout his symphoni...

Mendelssohn's unfinished 3rd oratorio in the first critical edition. Performance material is available separately for Part 1 and Part 2 of the oratorio. Part 1: "The Nativity", Part 2: "The Passion of...

The arrangement of chorales had already played a major role during Mendelssohn's apprenticeship with Zelter, and his preoccupation with the Protestant chorale can even be found throughout his symphoni...

Psalm 112 was composed by the 22-year-old George Frideric Handel during his stay in Italy. The thematic material of the composition comes in part from one of Handel's early works in Halle, which uses...

The Gloria is the 13-year-old Mendelssohn's first major church composition. It was written at the beginning of 1822 as part of his composition lessons with Carl Friedrich Zelter, the director of the B...

When Joseph Haydn took over the direction of the Esterházy Chapel in 1766 after the death of his predecessor Gregor Joseph Werner, he began composing his first and most extensive Missa solemnis. The t...

Haydn probably wrote the Missa Sancti Nicolai in 1772 for Prince Nicolaus Esterházy's name day. Not only is it comparatively large in scale, but the orchestra is also larger than usual for Missae brev...

In the Mariazell Mass Haydn succeeds convincingly in creating a specific synthesis between the high demands of 'autonomous' art music on the one hand, which are reflected in the corresponding composit...

The Missa in Tempore Belli is an interesting work in several respects. On the one hand, this mass setting allows some conclusions to be drawn about the situation of Austrian church music under the inf...

The "Missa in d" published here was written as the third of Haydn's "High Masses" in the summer of 1798, i.e. between the two late oratorios. According to the autograph dating, Haydn needed less than...

Joseph Haydn's "Missa in B flat" with the nickname "Mass of Creation", the fifth of his six late Missae solemnes, was composed in just six weeks in 1801. Like all of his great masses, he composed this...

Due to the requirement of the Archbishop of Salzburg that even a solemn mass should not last longer than three quarters of an hour, Mozart composed a "Missa brevis et solemnis", i.e. a solemn mass wit...