Mozart Missa C major K. 259 "Organ Solo Mass"
Mozart Missa C major K. 259 "Organ Solo Mass"
Mozart Missa C major K. 259 "Organ Solo Mass"
BÄRENREITERSALE20% OFF

BARENREITER - 345062

Mozart Missa C major K. 259 "Organ Solo Mass"

$13.99
SKU: BA04852-90
Sheet music and other copyrighted materials are final sale.

CURTAIN CALL · 20% OFF

This copy has spent time on our shelves and may show light wear, such as minor scuffs, bent corners or fading. Discount applied at checkout. All Curtain Call sales are final.

See all Curtain Call
In stock
Quantity:
Pickup available at Juilliard Store
  • Composer: Wolfgang Amadeus Mozart
  • Publisher: Bärenreiter
  • Format: Choral Score
  • Binding: Stapled
  • Dimensions: 10.6 in x 7.5 in
  • Pages: 32

Editor: Senn, Walter

Arranger: Focke, Martin

Orchestral scoring : SSolo/ASolo/TSolo/BSolo/Mixed choir-SATB/2Ob/2Trp/3trombone/timpani/Str/Org

Language(s) of work: L

Language(s) of text: L

Product format: vocal score, Urtext edition

Binding: Stapled

Pages / Format: 32 - 27,0 x 19,0 cm

When Anton Theodor of Colloredo was ordained as Archbishop of Olmütz in 1778, the prince archbishop left the selection of music to Kapellmeister Leopold Mozart. The work he chose was Wolfgang Amadeus Mozart’s “Missa in C major” K. 259 composed in 1775/76. On account of the soloistic organ part in the “Benedictus”, the work is also known as the “Organ Solo Mass”. As the Kapellmeister deemed the “Kyrie” too short and not solemn enough for the occasion, he replaced it with the “Kyrie” from the “Spaur Mass” K. 258. He also possibly altered the orchestration of the work, adding two oboes.

The copyist of the parts did not use the autograph, but rather a copy, in which an unknown person – perhaps Mozart himself – had already made cuts to the “Benedictus”. Copies of the original as well as the shortened “Benedictus” have been preserved, meaning that both versions of the work were copied – first the original, and later the version containing the altered “Benedictus”.

In his edition, editor Walter Senn accounts for the different versions of the work with regard to its sources and genesis: The cuts in the “Benedictus” are marked with “vi – de”, and the oboe parts have been added to the main text.