Symphony No.8 In C D 944 The Great : The Great

The series of symphonies in the New Schubert Edition is a milestone of modern scholarly-critical editing, lending these works a transparency lacking in earlier editions of a more romantic bent.The eight symphonies traceSchubert’s artistic evolution from the First Symphony, which develops a theme from Beethoven’s Eroica, to the Mozartean Fifth and the romanticism of the 'Great' Eighth.Full score, performance material and studyscore for all symphonies are available for sale.Symphony No.1 in D major D 82 (BA5601, TP401)Symphony No.2 in B-flat major D 125 (BA5602, TP402)Symphony No.3 in D major D 200 (BA5603, TP403)Symphony No.4 inCminor D 417 Tragic (BA5604, TP404)Symphony No.5 in B-flat major D 485 (BA5645, TP405)Symphony No.6 in C major D 589 (BA5646, TP406)Symphony No.7 in B minor D 759 Unfinished (BA5647, TP407)Symphony No.8 in C majorD 944 The Great (BA5648, TP408)

Symphony No.8 In C D 944 The Great : The Great

The series of symphonies in the New Schubert Edition is a milestone of modern scholarly-critical editing, lending these works a transparency lacking in earlier editions of a more romantic bent.The eight symphonies traceSchubert’s artistic evolution from the First Symphony, which develops a theme from Beethoven’s Eroica, to the Mozartean Fifth and the romanticism of the 'Great' Eighth.Full score, performance material and studyscore for all symphonies are available for sale.Symphony No.1 in D major D 82 (BA5601, TP401)Symphony No.2 in B-flat major D 125 (BA5602, TP402)Symphony No.3 in D major D 200 (BA5603, TP403)Symphony No.4 inCminor D 417 Tragic (BA5604, TP404)Symphony No.5 in B-flat major D 485 (BA5645, TP405)Symphony No.6 in C major D 589 (BA5646, TP406)Symphony No.7 in B minor D 759 Unfinished (BA5647, TP407)Symphony No.8 in C majorD 944 The Great (BA5648, TP408)

Symphony No.8 In C D 944 The Great : The Great

The series of symphonies in the New Schubert Edition is a milestone of modern scholarly-critical editing, lending these works a transparency lacking in earlier editions of a more romantic bent.The eight symphonies traceSchubert’s artistic evolution from the First Symphony, which develops a theme from Beethoven’s Eroica, to the Mozartean Fifth and the romanticism of the 'Great' Eighth.Full score, performance material and studyscore for all symphonies are available for sale.Symphony No.1 in D major D 82 (BA5601, TP401)Symphony No.2 in B-flat major D 125 (BA5602, TP402)Symphony No.3 in D major D 200 (BA5603, TP403)Symphony No.4 inCminor D 417 Tragic (BA5604, TP404)Symphony No.5 in B-flat major D 485 (BA5645, TP405)Symphony No.6 in C major D 589 (BA5646, TP406)Symphony No.7 in B minor D 759 Unfinished (BA5647, TP407)Symphony No.8 in C majorD 944 The Great (BA5648, TP408)

Symphony No.8 In C D 944 The Great : The Great

The series of symphonies in the New Schubert Edition is a milestone of modern scholarly-critical editing, lending these works a transparency lacking in earlier editions of a more romantic bent.The eight symphonies traceSchubert’s artistic evolution from the First Symphony, which develops a theme from Beethoven’s Eroica, to the Mozartean Fifth and the romanticism of the 'Great' Eighth.Full score, performance material and studyscore for all symphonies are available for sale.Symphony No.1 in D major D 82 (BA5601, TP401)Symphony No.2 in B-flat major D 125 (BA5602, TP402)Symphony No.3 in D major D 200 (BA5603, TP403)Symphony No.4 inCminor D 417 Tragic (BA5604, TP404)Symphony No.5 in B-flat major D 485 (BA5645, TP405)Symphony No.6 in C major D 589 (BA5646, TP406)Symphony No.7 in B minor D 759 Unfinished (BA5647, TP407)Symphony No.8 in C majorD 944 The Great (BA5648, TP408)

Symphony No.8 In C D 944 The Great : The Great

The series of symphonies in the New Schubert Edition is a milestone of modern scholarly-critical editing, lending these works a transparency lacking in earlier editions of a more romantic bent.The eight symphonies traceSchubert’s artistic evolution from the First Symphony, which develops a theme from Beethoven’s Eroica, to the Mozartean Fifth and the romanticism of the 'Great' Eighth.Full score, performance material and studyscore for all symphonies are available for sale.Symphony No.1 in D major D 82 (BA5601, TP401)Symphony No.2 in B-flat major D 125 (BA5602, TP402)Symphony No.3 in D major D 200 (BA5603, TP403)Symphony No.4 inCminor D 417 Tragic (BA5604, TP404)Symphony No.5 in B-flat major D 485 (BA5645, TP405)Symphony No.6 in C major D 589 (BA5646, TP406)Symphony No.7 in B minor D 759 Unfinished (BA5647, TP407)Symphony No.8 in C majorD 944 The Great (BA5648, TP408)

Symphony No.8 In C D 944 The Great : The Great

The series of symphonies in the New Schubert Edition is a milestone of modern scholarly-critical editing, lending these works a transparency lacking in earlier editions of a more romantic bent.The eight symphonies traceSchubert’s artistic evolution from the First Symphony, which develops a theme from Beethoven’s Eroica, to the Mozartean Fifth and the romanticism of the 'Great' Eighth.Full score, performance material and studyscore for all symphonies are available for sale.Symphony No.1 in D major D 82 (BA5601, TP401)Symphony No.2 in B-flat major D 125 (BA5602, TP402)Symphony No.3 in D major D 200 (BA5603, TP403)Symphony No.4 inCminor D 417 Tragic (BA5604, TP404)Symphony No.5 in B-flat major D 485 (BA5645, TP405)Symphony No.6 in C major D 589 (BA5646, TP406)Symphony No.7 in B minor D 759 Unfinished (BA5647, TP407)Symphony No.8 in C majorD 944 The Great (BA5648, TP408)

Mass In E-flat Major : Great Organ Mass Hob. XXII:4

Mass in E-flat major (Great Organ Mass) Hob.XXII:4In honorem Beatissimae Virginis MariaeFollowing his “Jugendmesse” from 1749, church music played only a secondary role inHaydn’s creative output. It was not until 1766 with the “Cäcilienmesse” and again in 1768-69 with the “Great Organ Mass”, that Haydn returned to this genre ofcomposition.This Mass in E-flat major belongs to the same period as the “Sturm-und- Drang” symphonies. Some of the remarkable features of this period are reflected here in the expansion of expressioncombinedwith a new very original musical language. The score also contains the traditional Viennese trumpet and timpani parts although it is extremely unlikely that they stem from Haydn. As Haydn at leasttolerated these parts, the performance material contains both the original as well as the expanded versions.- Hadyn’s 'Sturm-und-Drang' Mass- Performable in both versions- Clear and straightforward vocalscore- Urtext from Joseph Haydn Werke- Full score, parts (BA4646) and vocal score (BA4646-90) available for sale

Mass In E-flat Major : Great Organ Mass Hob. XXII:4

Mass in E-flat major (Great Organ Mass) Hob.XXII:4In honorem Beatissimae Virginis MariaeFollowing his “Jugendmesse” from 1749, church music played only a secondary role inHaydn’s creative output. It was not until 1766 with the “Cäcilienmesse” and again in 1768-69 with the “Great Organ Mass”, that Haydn returned to this genre ofcomposition.This Mass in E-flat major belongs to the same period as the “Sturm-und- Drang” symphonies. Some of the remarkable features of this period are reflected here in the expansion of expressioncombinedwith a new very original musical language. The score also contains the traditional Viennese trumpet and timpani parts although it is extremely unlikely that they stem from Haydn. As Haydn at leasttolerated these parts, the performance material contains both the original as well as the expanded versions.- Hadyn’s 'Sturm-und-Drang' Mass- Performable in both versions- Clear and straightforward vocalscore- Urtext from Joseph Haydn Werke- Full score, parts (BA4646) and vocal score (BA4646-90) available for sale

Mass In E-flat Major : Great Organ Mass Hob. XXII:4

Mass in E-flat major (Great Organ Mass) Hob.XXII:4In honorem Beatissimae Virginis MariaeFollowing his “Jugendmesse” from 1749, church music played only a secondary role inHaydn’s creative output. It was not until 1766 with the “Cäcilienmesse” and again in 1768-69 with the “Great Organ Mass”, that Haydn returned to this genre ofcomposition.This Mass in E-flat major belongs to the same period as the “Sturm-und- Drang” symphonies. Some of the remarkable features of this period are reflected here in the expansion of expressioncombinedwith a new very original musical language. The score also contains the traditional Viennese trumpet and timpani parts although it is extremely unlikely that they stem from Haydn. As Haydn at leasttolerated these parts, the performance material contains both the original as well as the expanded versions.- Hadyn’s 'Sturm-und-Drang' Mass- Performable in both versions- Clear and straightforward vocalscore- Urtext from Joseph Haydn Werke- Full score, parts (BA4646) and vocal score (BA4646-90) available for sale

Mass In E-flat Major : Great Organ Mass Hob. XXII:4

Mass in E-flat major (Great Organ Mass) Hob.XXII:4In honorem Beatissimae Virginis MariaeFollowing his “Jugendmesse” from 1749, church music played only a secondary role inHaydn’s creative output. It was not until 1766 with the “Cäcilienmesse” and again in 1768-69 with the “Great Organ Mass”, that Haydn returned to this genre ofcomposition.This Mass in E-flat major belongs to the same period as the “Sturm-und- Drang” symphonies. Some of the remarkable features of this period are reflected here in the expansion of expressioncombinedwith a new very original musical language. The score also contains the traditional Viennese trumpet and timpani parts although it is extremely unlikely that they stem from Haydn. As Haydn at leasttolerated these parts, the performance material contains both the original as well as the expanded versions.- Hadyn’s 'Sturm-und-Drang' Mass- Performable in both versions- Clear and straightforward vocalscore- Urtext from Joseph Haydn Werke- Full score, parts (BA4646) and vocal score (BA4646-90) available for sale

Mass In E-flat Major : Great Organ Mass Hob. XXII:4

Mass in E-flat major (Great Organ Mass) Hob.XXII:4In honorem Beatissimae Virginis MariaeFollowing his “Jugendmesse” from 1749, church music played only a secondary role inHaydn’s creative output. It was not until 1766 with the “Cäcilienmesse” and again in 1768-69 with the “Great Organ Mass”, that Haydn returned to this genre ofcomposition.This Mass in E-flat major belongs to the same period as the “Sturm-und- Drang” symphonies. Some of the remarkable features of this period are reflected here in the expansion of expressioncombinedwith a new very original musical language. The score also contains the traditional Viennese trumpet and timpani parts although it is extremely unlikely that they stem from Haydn. As Haydn at leasttolerated these parts, the performance material contains both the original as well as the expanded versions.- Hadyn’s 'Sturm-und-Drang' Mass- Performable in both versions- Clear and straightforward vocalscore- Urtext from Joseph Haydn Werke- Full score, parts (BA4646) and vocal score (BA4646-90) available for sale

Mass In E-flat Major : Great Organ Mass Hob. XXII:4

Mass in E-flat major (Great Organ Mass) Hob.XXII:4In honorem Beatissimae Virginis MariaeFollowing his “Jugendmesse” from 1749, church music played only a secondary role inHaydn’s creative output. It was not until 1766 with the “Cäcilienmesse” and again in 1768-69 with the “Great Organ Mass”, that Haydn returned to this genre ofcomposition.This Mass in E-flat major belongs to the same period as the “Sturm-und- Drang” symphonies. Some of the remarkable features of this period are reflected here in the expansion of expressioncombinedwith a new very original musical language. The score also contains the traditional Viennese trumpet and timpani parts although it is extremely unlikely that they stem from Haydn. As Haydn at leasttolerated these parts, the performance material contains both the original as well as the expanded versions.- Hadyn’s 'Sturm-und-Drang' Mass- Performable in both versions- Clear and straightforward vocalscore- Urtext from Joseph Haydn Werke- Full score, parts (BA4646) and vocal score (BA4646-90) available for sale

Missa : Great Credo Mass

Great Vocal Works (Urtext)

Mors et Vita - Szathmáry, Zsigmond

for Great Organ Performance score Org Hæftet udgave

The Seven Great Operas - Mozart, Wolfgang Amadeus

includes TP 322, 311, 320, 279, 314, 155, 321 study score, Urtext edition, Anthology in a slipcase

Keyboard Works - Händel, Georg Friedrich

First Set of 1720. The Eight Great Suites. Revised Edition Performance score, Anthology, Urtext edition piano Paperback

Missa in C major K.257 : Great Credo Mass

The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a), it is designated in Leopold Mozart’s handwriting as a Missa longa on the coverpage of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation “Missa longa” was intended to point out that this was an extensive, full-scale mass. Normally,it would have been called a Missa solemnis but Mozart, for unknown reasons, did not make use of this customary nomenclature.The name “Credo Mass” is taken from the acclamations of “Credo” that constantly interruptthelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further, its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almostsymphonic proportions. Urtext of the “New Mozart Edition” Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material(BA4859) and vocal score (BA4859-90) for saleArrangement for soloists, choir & organ (BA7520) for sale

Missa in C major K.257 : Great Credo Mass

The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a), it is designated in Leopold Mozart’s handwriting as a Missa longa on the coverpage of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation “Missa longa” was intended to point out that this was an extensive, full-scale mass. Normally,it would have been called a Missa solemnis but Mozart, for unknown reasons, did not make use of this customary nomenclature.The name “Credo Mass” is taken from the acclamations of “Credo” that constantly interruptthelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further, its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almostsymphonic proportions. Urtext of the “New Mozart Edition” Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material(BA4859) and vocal score (BA4859-90) for saleArrangement for soloists, choir & organ (BA7520) for sale

Missa in C major K.257 : Great Credo Mass

The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a), it is designated in Leopold Mozart’s handwriting as a Missa longa on the coverpage of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation “Missa longa” was intended to point out that this was an extensive, full-scale mass. Normally,it would have been called a Missa solemnis but Mozart, for unknown reasons, did not make use of this customary nomenclature.The name “Credo Mass” is taken from the acclamations of “Credo” that constantly interruptthelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further, its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almostsymphonic proportions. Urtext of the “New Mozart Edition” Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material(BA4859) and vocal score (BA4859-90) for saleArrangement for soloists, choir & organ (BA7520) for sale

Missa in C major K.257 : Great Credo Mass

The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a), it is designated in Leopold Mozart’s handwriting as a Missa longa on the coverpage of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation “Missa longa” was intended to point out that this was an extensive, full-scale mass. Normally,it would have been called a Missa solemnis but Mozart, for unknown reasons, did not make use of this customary nomenclature.The name “Credo Mass” is taken from the acclamations of “Credo” that constantly interruptthelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further, its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almostsymphonic proportions. Urtext of the “New Mozart Edition” Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material(BA4859) and vocal score (BA4859-90) for saleArrangement for soloists, choir & organ (BA7520) for sale

Missa in C major K.257 : Great Credo Mass

The Missa K.257 bears the non-authentic dating 1776 and was presumably composed at the end of 1776 or in the first half of 1777. Like K.262 (246a), it is designated in Leopold Mozart’s handwriting as a Missa longa on the coverpage of an early composite manuscript containing the five masses in C major. K.257 is listed there as the last work. The designation “Missa longa” was intended to point out that this was an extensive, full-scale mass. Normally,it would have been called a Missa solemnis but Mozart, for unknown reasons, did not make use of this customary nomenclature.The name “Credo Mass” is taken from the acclamations of “Credo” that constantly interruptthelike-named movement. The Mass is remarkable for its density of invention within the narrowest of confines. Further, its instrumental accompaniment has an almost chamber-music quality that emerges time and again into almostsymphonic proportions. Urtext of the “New Mozart Edition” Straightforward piano reduction in the vocal score Ideal for church services and concert performances Full score & performance material(BA4859) and vocal score (BA4859-90) for saleArrangement for soloists, choir & organ (BA7520) for sale

Konzert D Dur Pour Postdam Fl Str Und Bc

For Flute, Strings and Basso continuo. Full score, parts and Flute and Piano reduction available for sale.This Flute concerto 'Pour Potsdam' by the great Flute master of King Frederick the Great,Johann Joachim Quantz was based on the manuscript M3947 from the former library of the royal household in Berlin where it was preserved together with 300 other such concertos and around 150 Flute sonatas byQuantz.The work can be performed not only with String Orchestra but also with String Quartet for home music making.

Missa Cellensis : in honorem Beatissimae Virginis Mariae

Missa Cellensis in honorem Beatissimae Virginis Mariae Hob.XXII:5 'Cecilia Mass'The 'Cecilia Mass' is a milestone in Haydn's compositional work. It marks the beginning of aseries of great church music works and is the most important completely preserved composition from the years 1750-66.- Urtext from Joseph Haydn Werke.- Full score, parts and vocal score available forsale.

Missa Cellensis : in honorem Beatissimae Virginis Mariae

Missa Cellensis in honorem Beatissimae Virginis Mariae Hob.XXII:5 'Cecilia Mass'The 'Cecilia Mass' is a milestone in Haydn's compositional work. It marks the beginning of aseries of great church music works and is the most important completely preserved composition from the years 1750-66.- Urtext from Joseph Haydn Werke.- Full score, parts and vocal score available forsale.