Wolfgang Amadeus Mozart: C Minor Mass / Missa in c - Sheet music | Carus-Verlag

Wolfgang Amadeus Mozart C Minor Mass / Missa in c

completed and edited by Frieder Bernius & Uwe Wolf KV 427

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The C Minor Mass K. 427 by Wolfgang Amadeus Mozart is a fascinating work. But to speak of "the" Mass is inaccurate, for basically it is no more than a musical torso, full of enigmas and problems, yet full of magnificent music. It is hardly surprising that attempts have been made to create a performable version of Mozart's fragment since the 19th century. Depending on the date of reconstruction and background of the arranger, these attempts sound quite different, and often the individual style of the respective arranger can be clearly discerned. Frieder Bernius and Uwe Wolf have published an edition of the Mozart mass which attempts to produce a performing version whilst maintaining the greatest respect for the available material, and without obscuring Mozart's musical manuscript with their own contributions. The joint version by Wolf, a renowned musicologist, and Bernius, an expert in historically-informed performance practice, is based on a thorough knowledge of Mozart's compositions, his notational habits, and church music practice of his day. At the same time, it fully meets the requirements of today's performance practice.

As well as the paperback full score, we are publishing a high-quality clothbound full score including a Facsimile Supplement with selected reproductions of the sources.


A first recording of this version, with the Kammerchor Stuttgart and the Barockorchester Stuttgart conducted by Frieder Bernius, is also available.


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Listen (13)
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  • Kyrie
  • Gloria
  • Laudamus te
  • Gratias
  • Domine
  • Qui tollis
  • Quoniam
  • Jesu Christe, Cum Sancto Spiritu
  • Credo
  • Et incarnatus est
  • Sanctus, Hosanna
  • Benedictus, Hosanna
  • Credo (Fragment)
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Practise
  • carus music, the Choir Coach Üben mit carus music
    • Kyrie (Choir Coach)
    • Gloria (Choir Coach)
    • Gratias (Choir Coach, soprano 1)
    • Gratias (Choir Coach, soprano 2)
    • Qui tollis (Choir Coach, soprano 1)
    • Qui tollis (Choir Coach, soprano 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach)
    • Credo (Choir Coach, soprano 1)
    • Credo (Choir Coach, soprano 2)
    • Sanctus, Hosanna (Choir Coach, soprano 1)
    • Sanctus, Hosanna (Choir Coach, soprano 2)
    • Benedictus, Hosanna (Choir Coach, soprano 1)
    • Benedictus, Hosanna (Choir Coach, soprano 2)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach, Slow mode)
    • Gratias (Choir Coach, Slow mode, soprano 1)
    • Gratias (Choir Coach, Slow mode, soprano 2)
    • Qui tollis (Choir Coach, Slow mode, soprano 1)
    • Qui tollis (Choir Coach, Slow mode, soprano 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode, soprano 1)
    • Credo (Choir Coach, Slow mode, soprano 2)
    • Sanctus, Hosanna (Choir Coach, Slow mode, soprano 1)
    • Sanctus, Hosanna (Choir Coach, Slow mode, soprano 2)
    • Benedictus, Hosanna (Choir Coach, Slow mode, soprano 1)
    • Benedictus, Hosanna (Choir Coach, Slow mode, soprano 2)
    • Kyrie (Choir Coach)
    • Gloria (Choir Coach)
    • Gratias (Choir Coach)
    • Qui tollis (Choir Coach, Alto 1)
    • Qui tollis (Choir Coach, Alto 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach)
    • Credo (Choir Coach)
    • Credo (Choir Coach, Alto 1)
    • Gloria (Choir Coach, Alto 2)
    • Sanctus, Hosanna (Choir Coach, Alto 1)
    • Sanctus, Hosanna (Choir Coach, Alto 2)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach, Slow mode)
    • Gratias (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode, Alto 1)
    • Qui tollis (Choir Coach, Slow mode, Alto 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode, Alto 1)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Alto 2)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Alto 1)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Alto 2)
    • Kyrie (Choir Coach)
    • Gloria (Choir Coach)
    • Gratias (Choir Coach)
    • Qui tollis (Choir Coach, Tenore 1)
    • Qui tollis (Choir Coach, Tenore 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach)
    • Credo (Choir Coach)
    • Sanctus, Hosanna (Choir Coach, Tenore 1)
    • Sanctus, Hosanna (Choir Coach, Tenore 2)
    • Benedictus, Hosanna (Choir Coach, Tenore 1)
    • Benedictus, Hosanna (Choir Coach, Tenore 2)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach, Slow mode)
    • Gratias (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode, Tenore 1)
    • Qui tollis (Choir Coach, Slow mode, Tenore 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Tenore 1)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Tenore 2)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Tenore 1)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Tenore 2)
    • Kyrie (Choir Coach)
    • Gloria (Choir Coach)
    • Gratias (Choir Coach)
    • Qui tollis (Choir Coach, Basso 1)
    • Qui tollis (Choir Coach, Basso 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach)
    • Credo (Choir Coach)
    • Sanctus, Hosanna (Choir Coach, Basso 1)
    • Sanctus, Hosanna (Choir Coach, Basso 2)
    • Benedictus, Hosanna (Choir Coach, Basso 1)
    • Benedictus, Hosanna (Choir Coach, Basso 2)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach, Slow mode)
    • Gratias (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode, Basso 1)
    • Qui tollis (Choir Coach, Slow mode, Basso 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Basso 1)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Basso 2)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Basso 1)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Basso 2)
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Additional material
  • Purchase additional material as a download product.
  • Kyrie

    1. Kyrie (Solo S, Coro SATB)

    Lord, have mercy on us.
    Christ, have mercy on us.
    Lord, have mercy on us.

    Gloria

    2. Gloria (Coro SATB)

    Glory be to God on high.
    And on earth peace to men of good will.

    3. Laudamus te (Solo S)

    We praise thee; we bless thee; we adore thee; we glorify thee.

    4. Gratias (Coro SSATB)

    We give thee thanks for thy great glory.

    ...
  • Kyrie

    1. Kyrie (Solo S, Coro SATB)

    Herr, erbarme dich unser.
    Christus, erbarme dich unser.
    Herr, erbarme dich unser.

    Gloria

    2. Gloria (Coro SATB)

    Ehre sei Gott in der Höhe.
    Und Friede auf Erden den Menschen, die guten Willens sind.

    3. Laudamus te (Solo S)

    Wir loben dich, wir preisen dich, wir beten dich an, wir rühmen dich.

    4. Gratias (Coro SSATB)

    Wir danken dir, denn groß ist deine Herrlichkeit.

    ...
  • Kyrie

    1. Kyrie (Solo S, Coro SATB)

    Kyrie eleison.
    Christe eleison.
    Kyrie eleison.

    Gloria

    2. Gloria (Coro SATB)

    Gloria in excelsis Deo.
    Et in terra pax hominibus bonae voluntatis.

    3. Laudamus te (Solo S)

    Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.

    4. Gratias (Coro SSATB)

    Gratias agimus tibi propter magnam gloriam tuam.

    ...
  • Text from the CD Carus 83.284

    Uwe Wolf
    Translation: Elizabeth Robinson

    What a story! Mozart makes a vow to compose a mass after the successful birth of his first-born child. The performance is planned on the occasion of his first journey with his wife to Salzburg so he can introduce her to his family – both personally and musically, for Constanze is to sing one of the demanding soprano parts. But the baby, left behind with a wet-nurse in Vienna, then dies, and Mozart stops work on the composition – precisely at the Et incarnatus est, one of the most beautiful and heartfelt movements by Mozart, dealing with the subject of the incarnation, that is, birth. Too much of a coincidence? Probably.

    But there is some truth in this touching, very personal story. A letter from Mozart to his father in January 1783, the only document from the time of the composition of the Mass which refers to the vow, is anything but clear – and consequently any connection between the C Minor Mass and the birth of little Raimund Leopold (17.6.1783–19.8.1783) is frequently questioned. But various later statements by Constanze Mozart (who survived her husband by more than 50 years) regularly repeat this story over a long period of time. It is mentioned in

    ...
  • Booklet-Text der CD Carus 83.284

    Uwe Wolf

    Was für eine Geschichte! Mozart legt das Gelübde ab, nach der glücklich überstandenen Geburt seines Erstgeborenen eine Messe zu komponieren. Die Aufführung ist geplant anlässlich der ersten Reise mit seiner Frau nach Salzburg, um diese seiner Familie vorzustellen – auch musikalisch, denn eine der anspruchsvollen Sopranpartien soll Constanze singen. Doch dann stirbt das bei einer Amme in Wien zurückgelassene Baby und Mozart bricht die Komposition ab – genau im Et incarnatus est, einer der schönsten, innigsten Sätze Mozarts, in dem es auch noch ausgerechnet um die Menschwerdung, also Geburt geht! Zu passend, um wahr zu sein? Wahrscheinlich.

    Doch etwas ist dran an dieser rührenden, ganz persönlichen Geschichte. Ein Brief Mozarts an seinen Vater vom Januar 1783, das einzige Dokument für das Gelöbnis aus der Entstehungszeit der Messe selbst, ist alles andere als eindeutig – und folglich wird jener Zusammenhang zwischen der c-Moll-Messe und der Geburt des kleinen Raimund Leopold (17.6.1783–19.8.1783) regelmäßig in Zweifel gezogen. Doch diverse spätere Äußerungen Constanze Mozarts (die ihren Mann um mehr als 50 Jahre überlebte) wiederholen über einen langen Zeitraum diese

    ...
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Purchase
full score Carus 51.651/00, ISMN 979-0-007-17130-8 200 pages, paperback
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99,00 € / copy
full score, with facsimile, clothbound Carus 51.651/01, ISMN 979-0-007-17170-4 200 pages, Hardcover
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204,00 € / copy
vocal score Carus 51.651/03, ISMN 979-0-007-17149-0 104 pages, paperback
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vocal score, XL in large print Carus 51.651/04, ISMN 979-0-007-17180-3 104 pages, DIN A4, paperback
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choral score Carus 51.651/05, ISMN 979-0-007-18202-1 40 pages, DIN A4, without cover Minimum order quantity: 20 copies
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from 40 copies 8,96 € / copy
from 60 copies 7,96 € / copy
study score Carus 51.651/07, ISMN 979-0-007-18144-4 200 pages, DIN A5, paperback
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21,50 € / copy
set of parts, complete orchestral parts Carus 51.651/19, ISMN 979-0-007-18297-7 23 x 32 cm, without cover
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352,00 € / copy
  • 1 x set of parts, harmony parts, flute, oboe 1, oboe 2, bassoon 1, bassoon 2, horn 1, horn 2, trumpet 1, trumpet 2, trombone 1, trombone 2, trombone 3, timpani (51.651/09)
    each: 94,00 €
    6 x individual part, violin 1 (51.651/11)
    each: 13,50 €
    5 x individual part, violin 2 (51.651/12)
    each: 13,50 €
    4 x individual part, 2 violas (51.651/13)
    each: 13,50 €
    4 x individual part, basso continuo (51.651/14)
    each: 13,50 €
    1 x individual part, organ (51.651/49)
    each: 23,50 €
individual part, organ Carus 51.651/49, ISMN 979-0-007-22532-2 40 pages, 23 x 32 cm, without cover
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full score digital (download), pdf file Carus 51.651/00-010-000, ISMN 979-0-007-26145-0 200 pages
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text (without music) for download, html file, Introductory text, German Carus 51.651/00-310-000
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text (without music) for download, html file, Introductory text, English Carus 51.651/00-320-000
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text (without music) for download, html file, Singing text, original Carus 51.651/00-380-000
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  • As the son of the deputy Kapellmeister to the Salzburg Prince-Archbishop, Mozart was constantly surrounded by church music in his youth. On his travels Mozart became familiar with Italian church music, and later in Vienna he studied the works of Bach and Handel. After moving to Vienna he was faced with the new challenges of composing opera and piano concertos, and significantly the “C Minor Mass” KV 427, the greatest sacred work of the first Vienna years, remained unfinished. The last period of his life again shows a change of direction to church music: Mozart successfully applied to succeed the terminally ill Leopold Hoffmann as Kapellmeister at St Stephen's Cathedral, but he was unable to take up the position as he died before Hoffmann. A gem such as the “Ave verum” KV 618 and the incomplete Requiem KV 626 give us an idea of what Mozart might have achieved as a composer of sacred music if he had taken up this important position. Personal details
  • Uwe Wolf studied musicology, history, and historical ancillary science at Tübingen and Göttingen. After receiving his doctorate in 1991 he was a research assistant at the Johann-Sebastian-Bach-Institut in Göttingen. From 2004 he worked at the Bach-Archiv Leipzig. There he directed a both research departments, was substantially responsible for the redisigning of the Bach Museum, and he developed the digital Online-Projekt Bach. Since October 2011 he has been the Chief Editor at Carus-Verlag, Stuttgart. He has taught at various universities and also belongs to the editorial boards of several complete editions. Personal details
  • Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Personal details
  • Uwe Wolf studied musicology, history, and historical ancillary science at Tübingen and Göttingen. After receiving his doctorate in 1991 he was a research assistant at the Johann-Sebastian-Bach-Institut in Göttingen. From 2004 he worked at the Bach-Archiv Leipzig. There he directed a both research departments, was substantially responsible for the redisigning of the Bach Museum, and he developed the digital Online-Projekt Bach. Since October 2011 he has been the Chief Editor at Carus-Verlag, Stuttgart. He has taught at various universities and also belongs to the editorial boards of several complete editions. Personal details
  • Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Personal details

Reviews

... Scored for double-choir, SSTB soloists, flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, strings, and continuo, this work is not for the faint of heart. That being said, it is indubitably a treasure in the world of choral-orchestral music. Considering this new edition, the work is even more accessible than previous completions, and is well worth programming.
Kevin Dibble, Choral Journal, November 2018

 

... Sie [Bernius und Wolf] ergänzen behutsam, orientieren sich an Klangbildern, die der reife Mozart insgesamt entwirft, bemühen sich um Idiomatik, versteigen sich nicht in eigene kompositorische Ideen und schaffen so eine ebenso praxistaugliche wie künstlerisch diskutable Neugestaltung von Mozarts fragmentarischen Messeteilen. Sie verdient es, ihre Qualitäten in Aufführungen erweisen zu dürfen.
Ulrich Konrad, Musica Sacra, 1/2018

 

... eine Fassung ..., die neue Massstäbe setzt in einer - leider viel zu selten praktizierten - kongenialen Zusammenarbeit von Wissenschaft und Praxis.
Schweizer Musikzeitung, Dezember 2017

 

... Dieser interessante Weg, auf dem ein Wissenschaftler und ein Dirigent ein Werk gemeinsam herausgeben, sollte in Zukunft häufiger beschriften werden.
Kirchenmusikalische Mitteilungen der Erzdiözese Freiburg, November 2017

 

... Praktiker und Musikwissenschaftler haben hier zu einer bewundernswerten Zusammenarbeit gefunden, die schon als solche nicht genug honoriert werden kann. Ein umfangreiches Vorwort und der Kritische Bericht ergänzen die Partitur in der bei Carus gewohnten hohen Qualität.
Rainer Goede, Forum Kirchenmusik, März/April 2017

 

Sowohl im Hinblick auf die Art der Vervollständigung als auch auf die Interpretation setzt diese c-Moll-Messe neue Maßstäbe.
Chorzeit, März 2017

 

Fazit: eine echte Entdeckung. Nicht nur für Mozart-Freaks.
Christian Albrecht, Musik & Liturgie, 2/2017

 

...Gemeinsam haben Wolf (von der quellenkundlichen Seite) und Bernius (aus aufführungspraktischer Sicht) an der Instrumentierung der von Mozart nur unvollständig hinterlassenen Teile getüftelt, was zu einem wirklich überzeugenden Ergebnis geführt hat.
Bernhard Schrammek, RBB kulturradio, 23.01.2017

 

Das Duo Bernius & Wolf erliegt keineswegs der Hybris, ein Genie wie Mozart aktionistisch vervollständigen oder gar, was noch anmaßender wäre, verbessern zu wollen. Die beiden Herausgeber gingen mit Empathie und akribischer Sorgfalt zu Werke, brachten ihre ganze Kompetenz ein. Mozart kann Mozart sein, und die c-Moll-Messe, deren Komposition der Salzburger, aus welchen Gründen auch immer, abgebrochen hatte, wird aufführbar(er).
Johannes Adam, Badische Zeitung, 14.01.2017

 

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