Das Autograph der Epistelsonate wurde im Mozartjahr 1991 von der Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, erworben. Die kritische Neuausgabe von Ulrich Leisinger ist die erste Ausgabe, die sich darauf stützen kann.
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  • Sonate in C
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Full score Carus 51.329/00, ISMN 979-0-007-01783-5 16 pages, DIN A4, paperback
available
11,50 € / copy
Set of parts, complete orchestral parts Carus 51.329/19, ISMN 979-0-007-13841-7 23 x 32 cm, without cover
available
49,00 € / copy
  • 1 x Set of parts, harmony parts, oboe 1, oboe 2, french horn 1, french horn 2, trumpet 1, trumpet 2, timpani (51.329/09)
    each: 13,90 €
    5 x Individual part, violin (51.329/11)
    each: 2,30 €
    5 x Individual part, violin 2 (51.329/12)
    each: 2,30 €
    5 x Individual part, violoncello / double bass (51.329/13)
    each: 2,30 €
    1 x Individual part, organ (51.329/49)
    each: 4,70 €
Individual part, organ Carus 51.329/49, ISMN 979-0-007-22497-4 4 pages, 23 x 32 cm, without cover
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4,70 € / copy
  • 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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Hodie Christus natus est II

Planen Sie demnächst die Aufführung der Mozartschen Krönungsmesse KV 317? So darf diese Kirchensonate, auch als Epistelsonate bekannt, nicht fehlen, da sie zu den wenigen einsätzigen Instrumentalkompositionen gehört, die Messkompositionen zuzuordnen sind. (Markanter Rhythmus steht in deutlichem Bezug zum Gloria.)
Merkwürdigerweise hat dieser Formtypus trotz seiner hohen Qualität im 18. bzw. 19. Jhdt. keine Verbreitung gefunden. Somit bleiben diese 17 Kirchen- oder Epistelsonaten eine mozarttypische Erscheinungsform.

Peter Bartetzky
Quelle: Musik im Bistum Essen II/03 – I/04, S. 70

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