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Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in thesolo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli’s composition, the Appendix contains settings by another composer from his circle, Nicola Sala. • The best-known setting of the Requiem Mass before Mozart • First critical edition • Effective choral movements with numerous suspended dissonances and solo/tutti alternation • Scored for small instrumental forces of strings and organ

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in thesolo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli’s composition, the Appendix contains settings by another composer from his circle, Nicola Sala. • The best-known setting of the Requiem Mass before Mozart • First critical edition • Effective choral movements with numerous suspended dissonances and solo/tutti alternation • Scored for small instrumental forces of strings and organ

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in thesolo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli’s composition, the Appendix contains settings by another composer from his circle, Nicola Sala. • The best-known setting of the Requiem Mass before Mozart • First critical edition • Effective choral movements with numerous suspended dissonances and solo/tutti alternation • Scored for small instrumental forces of strings and organ

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in thesolo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli’s composition, the Appendix contains settings by another composer from his circle, Nicola Sala. • The best-known setting of the Requiem Mass before Mozart • First critical edition • Effective choral movements with numerous suspended dissonances and solo/tutti alternation • Scored for small instrumental forces of strings and organ

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in thesolo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli’s composition, the Appendix contains settings by another composer from his circle, Nicola Sala. • The best-known setting of the Requiem Mass before Mozart • First critical edition • Effective choral movements with numerous suspended dissonances and solo/tutti alternation • Scored for small instrumental forces of strings and organ

Missa Pro Defunctis

Missa Pro Defunctis

Missa Pro Defunctis

Missa Pro Defunctis

Missa Pro Defunctis

Keller: Organa pro Organo

Missa Pro Defunctis : Op. 83

Missa Pro Defunctis : First Critical Edition - Op. 83

Missa Pro Defunctis : First Critical Edition - Op. 83

Ding, Dong, Merrily On High

Acclamatio for TTBB

Written in 1996 for SSAA and often sung by the Andrej Vavken Women’s Choir from my home parish, this work is a palindrome, having musical motives from the first part unfold in reverse in the second part. In 2015, I wrote a mixed choir version for Gary Graden. In places, I also added a harmonic mirror when extending the sound to include male voices, resulting in colorful harmonies.

Eight Responsories For Trinity Sunday

This is the individual part for Violin 1 for Antonio Juanas' 'Eight Responsories For Trinity Sunday'.Antonio Juanas (ca. 1762/63 - 1816) worked as "maestro de capilla" at the Cathedral in Mexico City. At the turn of the 18th to 19th centuries his music combined a pronounced Baroque character in the string parts (with Basso Continuo) with vocal parts in the stile antico. The short, partly Double-Choir movements of his Ocho Responsorios in Latin belong liturgically to Trinity Sunday, but can also be performed as individual works. They are available for the first time in Urtext editions. The works are terrific for musicians with an interest in early music, and because oftheir scoring for small forces they can be performed by ensembles of different sizes and resources.

Eight Responsories For Trinity Sunday

This is the individual part for Violin 2 for Antonio Juanas' 'Eight Responsories For Trinity Sunday'.Antonio Juanas (ca. 1762/63 - 1816) worked as "maestro de capilla" at the Cathedral in Mexico City. At the turn of the 18th to 19th centuries his music combined a pronounced Baroque character in the string parts (with Basso Continuo) with vocal parts in the stile antico. The short, partly Double-Choir movements of his Ocho Responsorios in Latin belong liturgically to Trinity Sunday, but can also be performed as individual works. They are available for the first time in Urtext editions. The works are terrific for musicians with an interest in early music, and because oftheir scoring for small forces they can be performed by ensembles of different sizes and resources.

Eight Responsories For Trinity Sunday

This is the individual Organ part for Antonio Juanas' 'Eight Responsories For Trinity Sunday'.Antonio Juanas (ca. 1762/63 - 1816) worked as "maestro de capilla" at the Cathedral in Mexico City. At the turn of the 18th to 19th centuries his music combined a pronounced Baroque character in the string parts (with Basso Continuo) with vocal parts in the stile antico. The short, partly Double-Choir movements of his Ocho Responsorios in Latin belong liturgically to Trinity Sunday, but can also be performed as individual works. They are available for the first time in Urtext editions. The works are terrific for musicians with an interest in early music, and because of theirscoring for small forces they can be performed by ensembles of different sizes and resources.

Eight Responsories For Trinity Sunday

This is the individual Cello part for Antonio Juanas' 'Eight Responsories For Trinity Sunday'.Antonio Juanas (ca. 1762/63 - 1816) worked as "maestro de capilla" at the Cathedral in Mexico City. At the turn of the 18th to 19th centuries his music combined a pronounced Baroque character in the string parts (with Basso Continuo) with vocal parts in the stile antico. The short, partly Double-Choir movements of his Ocho Responsorios in Latin belong liturgically to Trinity Sunday, but can also be performed as individual works. They are available for the first time in Urtext editions. The works are terrific for musicians with an interest in early music, and because of theirscoring for small forces they can be performed by ensembles of different sizes and resources.

Eight Responsories For Trinity Sunday

This is the set of complete Orchestral parts for Antonio Juanas' 'Eight Responsories For Trinity Sunday'.Antonio Juanas (ca. 1762/63 - 1816) worked as "maestro de capilla" at the Cathedral in Mexico City. At the turn of the 18th to 19th centuries his music combined a pronounced Baroque character in the string parts (with Basso Continuo) with vocal parts in the stile antico. The short, partly Double-Choir movements of his Ocho Responsorios in Latin belong liturgically to Trinity Sunday, but can also be performed as individual works. They are available for the first time in Urtext editions. The works are terrific for musicians with an interest in early music, andbecause of their scoring for small forces they can be performed by ensembles of different sizes and resources.

Quatre Antiennes à la Vierge pour deux dessus : Four Marian antiphons for two high voices - H 16, 21, 22, 32

Quatre Antiennes à la Vierge pour deux dessus : Four Marian antiphons for two high voices - H 16, 21, 22, 32

Bach for Brass 2: Kantaten II

Bach for Brass contains Bach’s complete brass parts in seven volumes, set in generously engraved short scores designed for practical performance. The parts include measure numbers, helpful cues, timpani parts if applicable, as well as the most important information concerning origins, original instrument names in the sources, and much more. An instructive foreword in English and facsimiles complete the picture. These volumes, prepared by experienced musicologists and performers for the first time from the original scores and parts, aim to provide today’s musicians striving for an authentic interpretation of Bach’s works with reliable material for study, instruction, andconcert performance.

Bach for Brass 1: Kantaten I

Bach for Brass contains Bach’s complete brass parts in seven volumes, set in generously engraved short scores designed for practical performance. The parts include measure numbers, helpful cues, timpani parts if applicable, as well as the most important information concerning origins, original instrument names in the sources, and much more. An instructive foreword in English and facsimiles complete the picture. These volumes, prepared by experienced musicologists and performers for the first time from the original scores and parts, aim to provide today’s musicians striving for an authentic interpretation of Bach’s works with reliable material for study, instruction, andconcert performance.