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.
Contents
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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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Editor
Uwe Wolf
| 1961Uwe 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
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Editor
Frieder Bernius
| 1947Frieder 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
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Arranger
Uwe Wolf
| 1961Uwe 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
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Arranger
Frieder Bernius
| 1947Frieder 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