Wolfgang Amadeus Mozart: Messe en ut mineur - CD, Choir Coach, multimedia | Carus-Verlag

Wolfgang Amadeus Mozart Messe en ut mineur

édité et complété par Frieder Bernius & Uwe Wolf KV 427

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La Messe en ut mineur KV 427 de Wolfgang Amadeus Mozart est fascinante. Elle n'a pas été achevée par Mozart, depuis le XIXe siècle, on essaye en permanence de la compléter pour permettre son exécution – avec des résultats très différents. Frieder Bernius et Uwe Wolf viennent de présenter une nouvelle édition de la Messe de Mozart, qui essaye de permettre de la donner avec un grand respect du matériel existant, sans masquer le style musical de Mozart avec leur propre contribution. Dans le double chœur « Qui tollis » ou la fugue « Cum Sancto Spiritu », les choristes sont en tout cas mis à contribution – et malgré cela, l'ambiance de l'œuvre ne doit pas s'en ressentir. Si la bonne combinaison entre justesse et interprétation est trouvée, personne, ni les participants, ni les auditeurs, ne pourra échapper à la fascination de cette œuvre.

Pour la Messe en ut mineur KV 247 de Mozart, pour la première fois, le coach propose du chant. Le coach est basé sur les voix séparées enregistrées du Kammerchor de Stuttgart et rend le travail encore plus agréable.

Le Carus Choir Coach offre aux choristes une aide unique pour apprendre leur voix au sein de la sonorité du chœur et de l’orchestre. Pour chaque voix, un CD audio ou MP3 et un téléchargement est disponible avec tous les mouvements chantés par le chœur. Le CD se base sur un enregistrement d’interprètes prestigieux, qui ont pour celui-ci utilisé l’édition Urtext de Carus. Chaque mouvement est présenté en trois variantes :

  • Version originale
  • Coach : la voix sélectionnée est faite ressortir, avec l’enregistrement original en arrière-plan
  • Coach en mode ralenti : l'enregistrement comme le coach sont ralentis à environ 70 % du tempo initial, ainsi les passages difficiles peuvent être travaillés efficacement.

Interprètes : Sarah Wegener (Soprano), Sophie Harmsen (Mezzosoprano), Colin Balzer (Tenore), Felix Rathgeber (Basso) – Kammerchor Stuttgart, Hofkapelle Stuttgart – Frieder Bernius


 

Découvrir
Ecouter (13)
  • Acheter l´œuvre sous forme de CD ou de fichier à télécharger.
  • Laudamus te
  • Domine
  • Quoniam
  • Et incarnatus est
  • Credo (Fragment)
  • Kyrie
  • Gloria
  • Gratias
  • Qui tollis
  • Jesu Christe, Cum Sancto Spiritu
  • Credo
  • Sanctus, Hosanna
  • Benedictus, Hosanna
plus
S`exercer
  • carus music, the Choir Coach Üben mit carus music
    • Kyrie (Choir Coach)
    • Gloria (Choir Coach)
    • Gratias (Choir Coach)
    • Qui tollis (Choir Coach, Alto 1)
    • Qui tollis (Choir Coach, Alto 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach)
    • Credo (Choir Coach)
    • Credo (Choir Coach, Alto 1)
    • Gloria (Choir Coach, Alto 2)
    • Sanctus, Hosanna (Choir Coach, Alto 1)
    • Sanctus, Hosanna (Choir Coach, Alto 2)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach, Slow mode)
    • Gratias (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode, Alto 1)
    • Qui tollis (Choir Coach, Slow mode, Alto 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode, Alto 1)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Alto 2)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Alto 1)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Alto 2)
    • Kyrie (Choir Coach)
    • Gloria (Choir Coach)
    • Gratias (Choir Coach)
    • Qui tollis (Choir Coach, Tenore 1)
    • Qui tollis (Choir Coach, Tenore 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach)
    • Credo (Choir Coach)
    • Sanctus, Hosanna (Choir Coach, Tenore 1)
    • Sanctus, Hosanna (Choir Coach, Tenore 2)
    • Benedictus, Hosanna (Choir Coach, Tenore 1)
    • Benedictus, Hosanna (Choir Coach, Tenore 2)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach, Slow mode)
    • Gratias (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode, Tenore 1)
    • Qui tollis (Choir Coach, Slow mode, Tenore 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Tenore 1)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Tenore 2)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Tenore 1)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Tenore 2)
    • Kyrie (Choir Coach)
    • Gloria (Choir Coach)
    • Gratias (Choir Coach)
    • Qui tollis (Choir Coach, Basse 1)
    • Qui tollis (Choir Coach, Basse 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach)
    • Credo (Choir Coach)
    • Sanctus, Hosanna (Choir Coach, Basse 1)
    • Sanctus, Hosanna (Choir Coach, Basse 2)
    • Benedictus, Hosanna (Choir Coach, Basse 1)
    • Benedictus, Hosanna (Choir Coach, Basse 2)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach, Slow mode)
    • Gratias (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode, Basse 1)
    • Qui tollis (Choir Coach, Slow mode, Basse 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo (Choir Coach, Slow mode)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Basse 1)
    • Sanctus, Hosanna (Choir Coach, Slow mode, Basse 2)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Basse 1)
    • Benedictus, Hosanna (Choir Coach, Slow mode, Basse 2)
    • Kyrie (Choir Coach)
    • Kyrie (Choir Coach, Slow mode)
    • Gloria (Choir Coach)
    • Gloria (Choir Coach, Slow mode)
    • Gratias (Choir Coach, soprano 1)
    • Gratias (Choir Coach, Slow mode, soprano 1)
    • Gratias (Choir Coach, soprano 2)
    • Gratias (Choir Coach, Slow mode, soprano 2)
    • Qui tollis (Choir Coach, soprano 1)
    • Qui tollis (Choir Coach, Slow mode, soprano 1)
    • Qui tollis (Choir Coach, soprano 2)
    • Qui tollis (Choir Coach, Slow mode, soprano 2)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach)
    • Jesu Christe, Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo (Choir Coach, soprano 1)
    • Credo (Choir Coach, Slow mode, soprano 1)
    • Credo (Choir Coach, soprano 2)
    • Credo (Choir Coach, Slow mode, soprano 2)
    • Sanctus, Hosanna (Choir Coach, soprano 1)
    • Sanctus, Hosanna (Choir Coach, Slow mode, soprano 1)
    • Sanctus, Hosanna (Choir Coach, soprano 2)
    • Sanctus, Hosanna (Choir Coach, Slow mode, soprano 2)
    • Benedictus, Hosanna (Choir Coach, soprano 1)
    • Benedictus, Hosanna (Choir Coach, Slow mode, soprano 1)
    • Benedictus, Hosanna (Choir Coach, soprano 2)
    • Benedictus, Hosanna (Choir Coach, Slow mode, soprano 2)
plus
Compléments
  • Acheter des compléments au format téléchargement.
  • Kyrie

    1. Kyrie (Solo S, Coro SATB)

    Lord, have mercy on us.
    Christ, have mercy on us.
    Lord, have mercy on us.

    Gloria

    2. Gloria (Coro SATB)

    Glory be to God on high.
    And on earth peace to men of good will.

    3. Laudamus te (Solo S)

    We praise thee; we bless thee; we adore thee; we glorify thee.

    4. Gratias (Coro SSATB)

    We give thee thanks for thy great glory.

    ...
  • Kyrie

    1. Kyrie (Solo S, Coro SATB)

    Herr, erbarme dich unser.
    Christus, erbarme dich unser.
    Herr, erbarme dich unser.

    Gloria

    2. Gloria (Coro SATB)

    Ehre sei Gott in der Höhe.
    Und Friede auf Erden den Menschen, die guten Willens sind.

    3. Laudamus te (Solo S)

    Wir loben dich, wir preisen dich, wir beten dich an, wir rühmen dich.

    4. Gratias (Coro SSATB)

    Wir danken dir, denn groß ist deine Herrlichkeit.

    ...
  • Kyrie

    1. Kyrie (Solo S, Coro SATB)

    Kyrie eleison.
    Christe eleison.
    Kyrie eleison.

    Gloria

    2. Gloria (Coro SATB)

    Gloria in excelsis Deo.
    Et in terra pax hominibus bonae voluntatis.

    3. Laudamus te (Solo S)

    Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.

    4. Gratias (Coro SSATB)

    Gratias agimus tibi propter magnam gloriam tuam.

    ...
  • Text from the CD Carus 83.284

    Uwe Wolf
    Translation: Elizabeth Robinson

    What a story! Mozart makes a vow to compose a mass after the successful birth of his first-born child. The performance is planned on the occasion of his first journey with his wife to Salzburg so he can introduce her to his family – both personally and musically, for Constanze is to sing one of the demanding soprano parts. But the baby, left behind with a wet-nurse in Vienna, then dies, and Mozart stops work on the composition – precisely at the Et incarnatus est, one of the most beautiful and heartfelt movements by Mozart, dealing with the subject of the incarnation, that is, birth. Too much of a coincidence? Probably.

    But there is some truth in this touching, very personal story. A letter from Mozart to his father in January 1783, the only document from the time of the composition of the Mass which refers to the vow, is anything but clear – and consequently any connection between the C Minor Mass and the birth of little Raimund Leopold (17.6.1783–19.8.1783) is frequently questioned. But various later statements by Constanze Mozart (who survived her husband by more than 50 years) regularly repeat this story over a long period of time. It is mentioned in

    ...
  • Booklet-Text der CD Carus 83.284

    Uwe Wolf

    Was für eine Geschichte! Mozart legt das Gelübde ab, nach der glücklich überstandenen Geburt seines Erstgeborenen eine Messe zu komponieren. Die Aufführung ist geplant anlässlich der ersten Reise mit seiner Frau nach Salzburg, um diese seiner Familie vorzustellen – auch musikalisch, denn eine der anspruchsvollen Sopranpartien soll Constanze singen. Doch dann stirbt das bei einer Amme in Wien zurückgelassene Baby und Mozart bricht die Komposition ab – genau im Et incarnatus est, einer der schönsten, innigsten Sätze Mozarts, in dem es auch noch ausgerechnet um die Menschwerdung, also Geburt geht! Zu passend, um wahr zu sein? Wahrscheinlich.

    Doch etwas ist dran an dieser rührenden, ganz persönlichen Geschichte. Ein Brief Mozarts an seinen Vater vom Januar 1783, das einzige Dokument für das Gelöbnis aus der Entstehungszeit der Messe selbst, ist alles andere als eindeutig – und folglich wird jener Zusammenhang zwischen der c-Moll-Messe und der Geburt des kleinen Raimund Leopold (17.6.1783–19.8.1783) regelmäßig in Zweifel gezogen. Doch diverse spätere Äußerungen Constanze Mozarts (die ihren Mann um mehr als 50 Jahre überlebte) wiederholen über einen langen Zeitraum diese

    ...
plus
Acheter
Carus Choir Coach (Audio uniquement), 3 CD, aides à l'apprentissage innovantes, soprano (vocal coach) Carus 51.651/91, EAN 4009350736610 DIN A5, CD dans un écrin
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Carus Choir Coach (Audio uniquement), 3 CD, aides à l'apprentissage innovantes, alto (vocal coach) Carus 51.651/92, EAN 4009350736627 DIN A5, CD dans un écrin
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Carus Choir Coach (Audio uniquement), 3 CD, aides à l'apprentissage innovantes, tenore (vocal coach) Carus 51.651/93, EAN 4009350736634 DIN A5, CD dans un écrin
disponible
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Carus Choir Coach (Audio uniquement), 3 CD, aides à l'apprentissage innovantes, basse (vocal coach) Carus 51.651/94, EAN 4009350736641 DIN A5, CD dans un écrin
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Carus Choir Coach à télécharger (Audio uniquement), fichier zip, fichier mp3, aides à l'apprentissage innovantes, voix soprano Carus 51.651/91-101-000
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Carus Choir Coach à télécharger (Audio uniquement), fichier zip, fichier mp3, aides à l'apprentissage innovantes, voix alto Carus 51.651/92-102-000
disponible
16,90 € / pièce
Carus Choir Coach à télécharger (Audio uniquement), fichier zip, fichier mp3, aides à l'apprentissage innovantes, voix tenore Carus 51.651/93-103-000
disponible
16,90 € / pièce
Carus Choir Coach à télécharger (Audio uniquement), fichier zip, fichier mp3, aides à l'apprentissage innovantes, voix basse Carus 51.651/94-104-000
disponible
16,90 € / pièce
Informations complémentaires sur l'œuvre
  • 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. Plus d'information sur la personne
  • Uwe 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. Plus d'information sur la personne
  • Frieder 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. Plus d'information sur la personne
  • The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Plus d'information sur la personne
  • La Hofkapelle Stuttgart, créée en 2006 par Frieder Bernius pour compléter le Barockorchester Stuttgart, se consacre au répertoire du 19ème siècle sur des instruments historiques. Un centre de gravité est la redécouverte de trésors de l’histoire de la musique, notamment dans la région du sud-ouest de l’Allemagne (Kalliwoda, Knecht, Holzbauer). Hofkapelle et Barockorchester Stuttgart sont les hôtes réguliers de festivals internationaux (Rome, Salzbourg, Göttingen, Dresde). Leurs productions pour le CD se sont vues décerner des prix à plusieurs reprises : la Missa Dei Patris de Jan Dismas Zelenka a été nominée pour le Cannes Classical Award, la musique de scène du Songe d’une Nuit d’été de Félix Mendelssohn Bartholdy d’après Shakespeare a été distinguée par Rondo et a remporté l’Étoile du mois de la revue Fono Forum. Le Requiem de W.A. Mozart a obtenu le Diapason d’or de l’année 2003, l’opéra de Johann Gottlieb Naumann Aci e Galatea a été nommé enregistrement d’opéra de l’année dans la revue spécialisée Opernwelt, l’Oratorio de Pâques de Bach figure dans la liste des meilleurs enregistrements du prix de la Critique allemande du disque. L’enregistrement de la Messe en si mineur de Bach a été editors choice de la revue Gramophone. Plus d'information sur la personne
  • Frieder 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. Plus d'information sur la personne
  • Canadian born Colin Balzer studied singing with David Meek in Canada and Edith Wiens in Germany. He has participated in master classes given by Helmut Deutsch, Robert Tear, Elly Ameling, Brigitte Fassbaender and Christoph Prégardien. Colin Balzer has won a range of international prizes, and has embarked on a busy international concert schedule with a repertoire ranging from Monteverdi to Penderecki. He has been heard at Festivals in Baden-Baden, Aix-en-Provence and at the Early Music Festivals in Boston and Vancouver, and he regularly performs with various Canadian orchestras. He has also enjoyed considerable success as a lieder singer. He recorded his first CD, Hugo Wolf’s Italienisches Liederbuch, with Hartmut Höll. Plus d'information sur la personne

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