Wolfgang Amadeus Mozart: Missa brevis in D major - Sheet music | Carus-Verlag

Wolfgang Amadeus Mozart Missa brevis in D major

KV 194, 1774

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During the summer of 1774 Mozart wrote two Masses within a few weeks: the Missa brevis in F major, K. 192, and the Missa brevis in D major, K. 194. A feature common to both compositions as well as to the Dixit et Magnificat K. 193, written at about the same time, and the "Trinitias" Mass K. 167 of the previous year, is a more or less strongly evident tendency towards contrapuntal writing. However, while the Dixit et Magnificat and the "Trinitas" Mass approach the late-baroque style, in these two brevis Masses Mozart sought to combine traditional polyphonic techniques with a more modern musical language.


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    • Gloria (Choir Coach)
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  • Kyrie

    Kyrie eleison.
    Christe eleison.
    Kyrie eleison.

    Gloria

    Et in terra pax hominibus bonae voluntatis.
    Laudamus te. Benedicimus 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,
    Qui tollis peccata mundi,
    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.

    ...
  • Foreword of the edition Carus 40.625

    Jochen Reutter
    Translation: John Coombs

    During the summer of 1774 W. A. Mozart wrote two Masses within a few weeks: the Missa brevis in F major, K. 192 (186f), and the Missa brevis in D major, K. 194 (186h). A feature common to both compositions as well as to the Dixit et Magnificat K. 193 (186g), written at about the same time, and the "Trinitatis" Mass K. 167 of the previous year, is a more or less strongly evident tendency towards contrapuntal writing. However, while the Dixit et Magnificat and the "Trinitatis" Mass approach the late-baroque style, in these two brevis Masses Mozart sought to combine traditional polyphonic techniques with a more modern musical language.

    The Missa brevis in D major, K. 194 (186h), was written shortly after its sister-work in F major. Mozart's autograph score is dated the 8th August 1774. This work, like K. 192 (186f), was intended for Salzburg Cathedral. Corresponding to the restricted scale of a missa brevis, Mozart wrote the F major Mass, and also the present work, for a small ensemble of four voices (SATB), choral and solo, two violins, bass and organ, together with the three trombones

    ...
  • Vorwort der Ausgabe Carus 40.625

    Jochen Reutter

    Im Sommer 1774 schrieb W.A. Mozart in unmittelbarer zeit­licher Nachbarschaft zwei Messen, die Missa brevis in FKV 192 (186f) und die Missa brevis in D KV 194 (186h). Beiden Kompositionen eigen ist wie dem etwa gleichzeitig entstandenen Dixit et Magnificat KV 193 (186g) und der aus dem Vorjahr stammenden Trinitatismesse KV 167 eine jeweils mehr oder weniger stark ausgeprägte Neigung zur kontrapunktischen Schreibweise. Während sich jedoch Dixit et Magnificat und die Trinitatismesse dem spätbarocken Stil nähern, sucht Mozart in den beiden brevis-Messen die alt­hergebrachten polyphonen Techniken mit einer moderneren Tonsprache zu verbinden.

    Die Missa brevis in D KV 194 (186h) entstand nur wenige Wochen nach ihrer F-Dur-Schwester. Mozarts autographe Partitur ist auf den 8. August 1774 datiert. Das Werk war wie KV 192 (186f für den Salzburger Dom bestimmt. Dem äußeren Rahmen einer Missa brevis entspricht Mozart wie in der F-Dur-Messe durch eine sparsame Besetzung mit vier Singstimmen (SATB), chorisch und

    ...
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full score Carus 40.625/00, ISMN 979-0-007-08450-9 48 pages, DIN A4, paperback
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vocal score Carus 40.625/03, ISMN 979-0-007-08451-6 40 pages, paperback
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choral score, with solo parts Carus 40.625/05, ISMN 979-0-007-08452-3 16 pages, DIN A4, without cover Minimum order quantity: 20 copies
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from 60 copies 3,96 € / copy
study score Carus 40.625/07, ISMN 979-0-007-07401-2 48 pages, DIN A5, paperback
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set of parts, complete orchestral parts Carus 40.625/19, ISMN 979-0-007-13809-7 23 x 32 cm, without cover
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  • 1 x set of parts, harmony parts, trombone 1, trombone 2, trombone 3 (40.625/09)
    each: 7,20 €
    5 x individual part, violin 1 (40.625/11)
    each: 5,00 €
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    each: 5,00 €
    5 x individual part, violoncello/double bass (40.625/13)
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    1 x individual part, organ (40.625/49)
    each: 13,10 €
individual part, organ Carus 40.625/49, ISMN 979-0-007-08457-8 16 pages, 23 x 32 cm, without cover
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full score digital (download), pdf file Carus 40.625/00-010-000, ISMN 979-0-007-26073-6 48 pages, DIN A4
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text (without music) for download, html file, Introductory text, German Carus 40.625/00-310-000
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text (without music) for download, html file, Introductory text, English Carus 40.625/00-320-000
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text (without music) for download, html file, Singing text, original Carus 40.625/00-380-000
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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
  • Paul 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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