The Missa Brevis in B flat major K. 275 is characterized by a prevailing cheerful, buoyant mood, which Alfred Einstein attested to be "a refinemenet of inconspicuous polyphony and, above all, chromatic movement and boldness". The carus music app proves to be very helpful for practicing the dialog-like, meshed solo and tutti passages and for the chromatic, in part tricky movements of the voices the Coach provides orientation.
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Performers: Agnès Mellon (soprano), Elisabeth Graf (alto), Oly Pfaff (tenore), Franz-Josef Selig (basso) – Kölner Kammerchor, Collegium Cartusianum – Peter Neumann
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)KyrieKyrie eleison.
Gloria
Christe eleison.
Kyrie eleison.Et in terra pax hominibus bonae voluntatis.
Credo
Laudamus te. Benedicamus te. Adoramus te. Glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex caelestis, Deus Pater omnipotens.
Domine Fili unigenite, Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris.
Qui tollis peccata mundi, miserere nobis,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.
Quoniam tu solus Sanctus.
Tu solus Dominus.
Tu solus Altissimus, Jesu Christe.
Cum Sancto Spiritu, in gloria Dei Patris.
Amen....
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)(Abrigded Foreword of the Edition Carus 40.629/03
Bernhard Janz
Translation: John CoombsTo a greater extent than almost any others, Mozart's Masses combine a very high degree of artistic accomplishment and tonal beauty with fulfilment of the demands made by the Liturgy. Even the textually expansive movements Gloria and Credo are, in most of Mozart's Masses, short enough to meet the requirements of a festive service, today as in his time. The choral parts are not too difficult for well-trained amateur singers, and in most cases even the solo sections are – given the necessary technical ability, vocal qualities and careful preparation – performable by non-professional singers. In addition, Mozart's church compositions frequently require only a small instrumental ensemble, which can be assembled relatively easily even when resources are limited; in common with all of Mozart's other Masses in the brevis class, the present work can be performed accompanied by a chamber orchestra consisting of violins, basses (double bass, cello, and possibly bassoon) and organ.
As the autograph score of Mozart's Mass in B flat KV 275, which may have shown the date of composition, has been lost since the 19th
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Gekürztes Vorwort der Ausgabe Carus 40.629/03
Bernhard Janz
Mozarts Messen erfreuen sich in der kirchenmusikalischen Praxis großer und noch immer steigender Beliebtheit: Wie nur wenige andere Vertonungen des Ordinariums verbinden sie hohe künstlerische Vollendung und Klangschönheit mit den Erfordernissen der Liturgie; selbst die textreichen Sätze Gloria und Credo haben in den meisten dieser Messen einen Umfang, der dem zeitlichen Rahmen eines feierlichen Gottesdienstes auch unserer Tage noch durchaus angemessen ist. Zudem übersteigen die technischen Ansprüche an die Ausführenden kaum jemals die Grenzen dessen, was von gut geschulten Laiensängern zu bewältigen ist; sogar die Soloabschnitte lassen sich mitunter – das technische Können, die stimmlichen Qualitäten und eine sorgfältige Einstudierung vorausgesetzt – auch von nicht professionellen Kräften ausführen. Außerdem begnügen sich die Kirchenkompositionen Mozarts nicht selten mit einem Instrumentalensemble, das auch in beschränkten Verhältnissen noch relativ leicht zusammenzustellen ist: Wie alle Mozart-Messen des brevis-Typs kommt auch die hier vorliegende Messe mit einem
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Composer
Wolfgang Amadeus Mozart
| 1756-1791As 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
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Vocal score arranger
Paul Horn
| 1922-2016Paul Horn war ein deutscher Kirchenmusiker, Organist, Komponist und Musikwissenschaftler. Er studierte Kirchenmusik und Orgel an der Evangelischen Kirchenmusikschule Esslingen am Neckar bei Hans-Arnold Metzger und Musikwissenschaft, Theologie und Geschichte an der Universität Tübingen. Seine berufliche Laufbahn begann als Kantor an der Evangelischen Michaelskirche in Stuttgart-Degerloch. 1954 wurde er Kantor an der Evangelischen Stadtkirche Ravensburg, eine Position, die er bis zu seiner Pensionierung innehatte. Als Musikwissenschaftler arbeitete Horn bis ins hohe Alter eng mit Carus zusammen. So stammen zahlreiche Carus-Klavierauszüge aus seiner Feder. Personal details
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Ensemble
Kölner Kammerchor
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Ensemble
Collegium Cartusianum
The period instrument ensemble Collegium Cartusianum, founded in 1988 as successor to the Barockorchester Koln, has a repertoire ranging from Monteverdi to Brahms. The ensemble’s participation in the complete recording of Wolfgang Amadeus Mozart’s masses conducted by Peter Neumann earned it an outstanding reputation, subsequently confirmed by many concerts, radio broadcasts and CD recordings. As well as collaborating with the Kolner Kammerchor, the Collegium Cartusianum has also received international acclaim for its performances of J. S. Bach’s Orchestral Suites as well as Mozart and Beethoven symphonies. With Mozart’s Il Re Pastore, Mendelssohn’s St. Paul and Elijah, and Dvo?ak’s Requiem the orchestra has extended its repertoire to include opera and romantic works. It has appeared at many leading festivals in Europe and Japan, recently at the Leipzig Bach Festival with a Handel-Bach program, with Handel’s Serenata Aci, Galatea e Polifemo in Krakow and Essen at the second “Fest fur Alte Musik” in Cologne in February 2012. Personal details
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Conductor
Peter Neumann
| 1940In recent years Peter Neumann, born in Karlsruhe, has made a name for himself particularly as a conductor of Handel’s music. This is demonstrated both by the concert series “250 Years Handel Oratorios” which he initiated – performing nine music dramas in accordance with Handel’s concert schedule of 1749–1752 – and by his numerous CD recordings. He has performed masterworks from vocal and orchestral music in the European musical capitals and at many renowned festivals, ranging from Monteverdi’s L’Orfeo and Vespers for the Blessed Virgin (Palais Garnier, Paris) through J. S. Bach’s passions (last in Moscow, Oslo and Versailles) and Mass in B minor (BBC Proms) to Debussy’s Le Martyre de Saint Sébastien at the MusikTriennale in Cologne. 2010, Peter Neumann and his ensembles Kolner Kammerchor and Collegium Cartusianum were guests at the Rheingau Music Festival with Schumann’s Das Paradies und die Peri and at the Schumann Festival in Dusseldorf as well as the Leipzig Bach Festival in 2011. In June 2012 he made his highly acclaimed debut at the Cologne Opera with Handel’s Alcina. As a guest conductor, Neumann has collaborated with, among others, ChorWerkRuhr, the Netherlands Chamber Choir, the SWR Vokalensemble Stuttgart, the NDR Choir, the Schola Cantorum Tokyo, the Concertgebouw Orchestra Amsterdam, the Jerusalem Symphony Orchestra, the Junge Deutsche Philharmonie and Concerto Koln. Highlights of his extensive discography include the complete recording of Mozart’s masses (Gramophone “Crown of Crowns”), Schutz’s Musical Vesper, Schumann’s Missa sacra (Diapason d’Or) and recordings of Bach’s St. John Passion and Handel’s Alexander’s Feast and Brockes Passion (Carus). Personal details
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Soloist - tenor
Oly Pfaff
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Soloist - bass
Franz-Josef Selig
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