Wolfgang Amadeus Mozart: Kyrie, Agnus Dei (Vokalversionen arr. Breuer) - Sheet music | Carus-Verlag

Wolfgang Amadeus Mozart Kyrie, Agnus Dei (Vokalversionen arr. Breuer)

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From the outset my two vocal versions of Mozart orchestral works were conceived as twins. Both models shared not only key of C minor, but the fact that they were composed towards the end of Mozart’s life seemed to suggest they were predestined to be arranged as a pair; and finally, their formal structure and, above all, the quotation of a cantus firmus in each piece seemed to bind these two works together. It was more difficult to consider which text was now suitable to render vocally what previously was an orchestral movement. Naturally it should stand out and textually the movement should be raised to another level. The answer was to use another language here. Therefore, I chose the texts “Kyrie eleison” and “Agnus Dei,” i.e., the opening and concluding texts of the Ordinary of the Mass. For a performance of both vocal versions in concert I suggest joining them by playing Mozart‘s great F minor Fantasy K. 608 as an instrumental intermezzo between them. (Heribert Breuer) Kyrie: Vocal arrangement of the Choral of the "Zauberflöte" Agnus Dei: Vocal arrangement of "Maurerische Trauermusik" KV 477
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Score Carus 7.212/00, ISMN 979-0-007-16694-6 12 pages, DIN A4, without cover Minimum order quantity: 20 copies
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Score digital (download), pdf file Carus 7.212/00-010-000, ISMN 979-0-007-30606-9 12 pages Minimum order quantity: 20 copies
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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

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